Politics of Contemporary European Cinema (Intellects Cinema & Media)
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How does contemporary European Cinema reflect the drive for political and economic integration and recent trends in globalisation, if at all? This book is a valuable excursion into the politics of European cinema and extensively addresses questions like this.
Mike Wayne identifies some key themes pertinent to a study of the contemporary cultural and political dynamics of European cinema from the mid-1980's, including the fall of the Berlin wall and the end of the Soviet Empire.
Throughout the book, issues are raised that question European culture and the nature of national cinema, including;
• The cultural relationship with Hollywood;
• Debates over cultural plurality and diversity;
• The disintegration of nation states along the eastern flank;
• Postcolonial travels and the hybridisation of the national formation.
of the Lambs (Johnathan Demme,1990). In The Limey, Terence Stamp arrives in LA to the sound of a Who song (’The Seeker’, appropriately enough). The film very self-consciously takes an element of 1960s British culture – the hard Cockney gangster – and translates it into a modern American setting. This makes Stamp’s character doubly incongruous, both temporally (he has been in prison for three decades) and culturally. Stamp’s presence in the film, directed by Steven Soderbergh, seems to license The
measure. At the same time, Malavoy falls in love with Bellegarde’s daughter, Mathilde. As with Century, Ridicule identifies the seeds of modernity in the past. Just as Malavoy represents rationalist Enlightenment values, so too does Mathilde who is conducting scientific experiments with a prototype diving suit. With its metal bulbous helmet and attached pipes through which air is pumped from dry land, the wet suit is the kind of emblem of modernity which rarely gets acknowledged in British period
case of Panther (Mario Van Peebles, 1995) where a political speech is cross-cut with a chase sequence happening nearby. Similarly, the political debate concerning the relationship between Christianity and wealth in The Name of the Rose is cut short in screen time when Brother William is pulled out of the debate by new developments in the murder mystery. In Land and Freedom, Loach films the debate with a minimal sense of ellipsis. There is cutting, but the camera almost always with two, three or
the money is always open to controversy).42 But unless the unequal power and control in distribution and therefore unequal access to exhibition is addressed, British cinema will be perennially characterised by short-lived success and painful contractions. The domination of the British film industry at the point of distribution and exhibition is a typical feature of ‘mature’ capitalism where free market competition between numerous small units of capital is gradually replaced by monopoly
which the film ends on. Invited to Wild West on the strength of their demo tape, the executive in a Stetson changes his tune when he actually sees the band. It is at this point that we and they learn that cultural hybridity takes place within certain material contexts. The executive, Hank Goldstein, and his partner, Yehudi (neither of them, obviously ‘pure’ Texans, whatever that may be), start to talk about marketing and salability and can see no future for an Asian country-and-western band in