Amateur Filmmaking in Tunisia: A Political Film Culture Eliding Contradictions in National Cinema

2020 ◽  
pp. 89-123
Author(s):  
Patricia Caillé
Keyword(s):  
Film Culture ◽  
National Cinema ◽  
Political Film

Slovenia: A Small National Cinema in the Phase of Transnational Synergy

2020 ◽  
pp. 208-227
Author(s):  
Polona Petek
Keyword(s):  
Decision Makers ◽  
Film Festivals ◽  
Film Culture ◽  
National Cinema ◽  
Film Education

The chapter on Slovenia maps a profound transformation that started taking place in Slovenian cinema in the 2010s, namely the fact that both filmmaking and film culture at large have grown to become increasingly transnational and cosmopolitan. Through a discussion of the work of both established and emergent auteurs, the text identifies shared features and aesthetics. The chapter places emphasis on women as a prominent group on the rise not only among filmmakers, but also among decision-makers and educators. Aiming to present a broader picture of contemporary Slovenian film culture, the chapter also focuses on the country’s film festivals and the development of film education and scholarship.

scholarly journals Whither Culture? Australian Horror Films and the Limitations of Cultural Policy

2009 ◽  
Vol 133 (1) ◽  
pp. 43-55 ◽  
Author(s):  
Mark David Ryan
Keyword(s):  
Cultural Policy ◽  
Growth Strategy ◽  
Horror Films ◽  
Film Culture ◽  
National Cinema ◽  
Distribution Models ◽  
Commercial Success ◽  
Public Subsidy ◽  
Production And Distribution ◽  
Low Culture

Cultural policy that attempts to foster the Australian film industry's growth and development in an era of globalisation is coming under increasing pressure. Throughout the 2000s, there has been a substantial boom in Australian horror films led by ‘runaway’ horror film Saw (2004), Wolf Creek (2005) and Undead (2003), achieving varying levels of popularity and commercial success worldwide. However, emerging within a national cinema driven by public subsidy and valuing ‘quality’ and ‘cultural content’ over ‘entertainment’ and ‘commercialism’, horror films have generally been antithetical to these objectives. Consequently, the recent boom in horror films has occurred largely outside the purview and subvention of cultural policy. This paper argues that global forces and emerging production and distribution models are challenging the ‘narrowness’ of cultural policy — a narrowness that mandates a particular film culture, circumscribes certain notions of value and limits the variety of films produced domestically. Despite their low-culture status, horror films have been well suited to the Australian film industry's financial limitations; they are a growth strategy for producers and a training ground for emerging filmmakers.

National Cinema and Film Culture in Kazakhstan

Asian Cinema ◽  
2012 ◽  
Vol 8 (1) ◽  
pp. 39-49
Author(s):  
Gregory A. Waller
Keyword(s):  
Film Culture ◽  
National Cinema

scholarly journals Auteur and Style in National Cinema: A Reframing of Metin Erksan's Time To Love

2014 ◽  
Vol 3 (1) ◽  
pp. 162-180 ◽  
Author(s):  
Murat Akser
Keyword(s):  
Film Culture ◽  
National Cinema ◽  
Hero Cult ◽  
National Heritage ◽  
Turkish Cinema

This essay will hunt down and classify the concept of the national as a discourse in Turkish cinema that has been constructed back in 1965, by the film critics, by filmmakers and finally by today’s theoretical standards. So the questions we will be constantly asking throughout the essay can be: Is what can be called part of national film culture and identity? Is defining a film part of national heritage a modernist act that is also related to theories of nationalism? Is what makes a film national a stylistic application of a particular genre (such as melodrama)? Does the allure of the film come from the construction of a hero-cult after a director deemed to be national?

Migrating with the Movies: Japanese Settler Film Culture

2017 ◽  
Author(s):  
Dong Hoon Kim
Keyword(s):  
Film Criticism ◽  
Film Culture ◽  
National Cinema ◽  
Dual Nature ◽  
Japanese Film ◽  
Conscious Effort

To adequately analyse Joseon cinema’s dual nature as a colonial and pseudo-national cinema against the colonial backdrop, it is indispensable to not only examine Korean elements but also consider the Japanese elements embedded in Joseon cinema. This chapter, therefore, brings to light the film culture of the Japanese settlers, a completely marginalized history in both Korean and Japanese film histories. As the author endeavours to integrate Japanese setters into my account of Joseon cinema, he makes a conscious effort to unearth some key figures from historical obscurity and narrate their stories in order to describe their seminal role in the advancement of Joseon film practices. As the chapter progresses, the discussion gradually expands to probe the overall settler film culture, including movie theatres, film programs, film criticism, and spectators, and its interactions with both Japanese film culture and the film practices of the local Koreans.

The Anxieties of Transnationalism: Reception of Immigration Films

2020 ◽  
pp. 56-78
Author(s):  
Philip E. Phillis ◽  
Philip E. Phillis
Keyword(s):  
Cultural Identity ◽  
Cultural Production ◽  
Film Culture ◽  
National Cinema ◽  
Definition Of ◽  
National Borders ◽  
At Home

Here we examine closely issues of production and reception of Greek migration films across national borders in order to further discuss questions of cultural identity. The chapter opens with Constantinos Giannaris’s Hostage/Omiros (2005), its hostile reception at home and celebration by Albanians in Greece and Albania. Secondly, the author addresses the obstacles that director Angeliki Antoniou encountered in claiming the ‘certificate of Greek nationality’ for her film Eduart (2006) and argues that both films showcase in their trajectories prevailing anxieties around the ownership of media. Indeed, a careful look into the films’ creative context opens our eyes to a culturally rich and diverse cinema that confuses the boundaries of a nation’s cinema and overall film culture, proposing new and exciting routes of cultural production. The author thus aims to contest national frameworks of inquiry and to propose a more inclusive definition of a national cinema.

scholarly journals The Outsider Within: Béla Tarr and Hungarian National Cinema

2016 ◽  
Vol 9 ◽  
pp. 90-100
Author(s):  
Lilla Tőke
Keyword(s):  
Film Culture ◽  
National Cinema ◽  
Ethnic Boundaries ◽  
Globalizing World ◽  
Public Persona

Béla Tarr is probably the most paradoxical figure in contemporary Hungarian cinema. His artistic trajectory shows a movement from documentary style realism (Family Nest, 1979) towards more modernist cinematic practices (Satan’s Tango, 1994, Werckmeister Harmonies, 2000, and The Man from London, 2007). A major celebrity in the global film culture that prides itself in being transnational, international, and in crossing linguistic and ethnic boundaries, Tarr has consistently found himself on the fringes of the Hungarian cultural and political establishment. In this study Tőke considers Tarr’s films and public persona as catalysts in the debates about what constitutes “Hungarian cinema” in a globalizing world from the 1970s until today.

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