Matches in SemOpenAlex for { <https://semopenalex.org/work/W2053454829> ?p ?o ?g. }
Showing items 1 to 85 of
85
with 100 items per page.
- W2053454829 endingPage "122" @default.
- W2053454829 startingPage "109" @default.
- W2053454829 abstract "Responding to Globalization:The Evolution of Agnès Varda Kelley Conway (bio) Long before Luc Besson shot Fifth Element (1997) in English, and long before the squabble over whether Jean-Pierre Jeunet’s Un long dimanche de fiançailles (A Very Long Engagement [2004]) was really a French film or a Warner Brothers’ film, the “national” in French national cinema was complicated. And yet a quick glance at the course offerings of most film departments will tell us that the discipline of Film Studies persists in employing a national cinema model when conceptualizing non-Hollywood cinema. In fact, French cinema has been global from its inception, if we think of globalization as the “increasing speed, ease, and extent with which capital, goods, services, technologies, people, cultures, information, and ideas now cross borders” (Gordon and Meunier 5). Indeed, throughout the history of French film, we can find examples of films, filmmakers, and business models that challenge a unified notion of national cinema. The crossing of national borders, whether in terms of production, distribution or exhibition, occurred in French cinema early on in the history of the medium. Indeed, “in its first decades (prior, say, to World War I) a primary way that film understood itself was as a medium that could express a new sense of a global identity” (Gunning 11). Following the invention in 1895 of the first moving picture camera, the cinématographe, the Lumière brothers began almost immediately sending cameramen around the world to shoot and exhibit films. By 1903, Pathé had opened offices in London, New York and Moscow (Millar 35). Hollywood’s Paramount Pictures set up shop in the Joinville Studios in Paris from 1929-31 and made multiple-language films (Danan). During the 1930s and the 1940s, Jean Renoir, Jacques Tourneur, Julien Duvivier, Maurice Chevalier, Simone Simon and Charles Boyer all worked in Hollywood. New Wave directors such as Jean-Luc Godard and François Truffaut were adept at the international promotion of their work, traveling to film festivals around the world. Most obviously, perhaps, films regularly bear the influence of films made in other countries. French cinema—and indeed, cinema traditions around the world—absorbed many of the norms of classical Hollywood cinema. More specifically, the influence of German cinematographers on 1930s French film has been well documented. Another, more auteur-specific [End Page 109] example of the transnational loop of aesthetic influence can be found in Jean-Pierre Melville’s crime films, which manifest both American and French influences, and, in turn, exerted influence on American independent film director Quentin Tarantino and on Hong Kong/Hollywood director John Woo. Thus, phenomena such as the mobility of directors, cast, and crew and the transnational characteristics of style and genre have long challenged the notion of French cinema as something confined to France. It seems sensible to think of globalization’s impact on French cinema less as a phenomenon of the last twenty years, than as something that ebbs and flows in its intensity. French cinema in the 1950s, for example, was particularly marked by globalization, which manifested itself in the emergence of international film festivals (Schwartz). An intenstification of European co-productions occurred in the 1960s (Bergfelder). Most would agree, however, that globalization’s impact on the film industry as a whole intensified again starting in the 1980s, and that the effects of this can be seen notably in the rise of the Hollwyood blockbuster, with its skyrocketing production and marketing budgets, its saturation release patterns, and the expansion of the multiplex. This recent wave of globalization has presented profound challenges to the film industries of small nations such as France, which struggle to remain viable in the face of competition from Hollywood films. Understanding globalization’s large-scale impact on the film industry is certainly crucial, but globalization is not a homogeneous, top-down force. Filmmakers, industries and policy makers in small nations respond in a variety of ways to the pressures of globalization (Michael). Moreover, transnational filmmaking often has strictly economic motives, but it can also serve to promote solidarity, community and a sense of belonging (Hjort). To explore fully the variety of responses to globalization, we need to look closely..." @default.
- W2053454829 created "2016-06-24" @default.
- W2053454829 creator A5012572745 @default.
- W2053454829 date "2014-01-01" @default.
- W2053454829 modified "2023-10-17" @default.
- W2053454829 title "Responding to Globalization: The Evolution of Agnes Varda" @default.
- W2053454829 cites W1934875990 @default.
- W2053454829 cites W1990792465 @default.
- W2053454829 cites W1991330003 @default.
- W2053454829 cites W2033032953 @default.
- W2053454829 cites W2325256280 @default.
- W2053454829 cites W2325513918 @default.
- W2053454829 cites W2336663882 @default.
- W2053454829 cites W435207213 @default.
- W2053454829 cites W569445082 @default.
- W2053454829 cites W570511742 @default.
- W2053454829 cites W617543919 @default.
- W2053454829 cites W625614301 @default.
- W2053454829 doi "https://doi.org/10.1353/sub.2014.0012" @default.
- W2053454829 hasPublicationYear "2014" @default.
- W2053454829 type Work @default.
- W2053454829 sameAs 2053454829 @default.
- W2053454829 citedByCount "1" @default.
- W2053454829 countsByYear W20534548292018 @default.
- W2053454829 crossrefType "journal-article" @default.
- W2053454829 hasAuthorship W2053454829A5012572745 @default.
- W2053454829 hasConcept C137355542 @default.
- W2053454829 hasConcept C142362112 @default.
- W2053454829 hasConcept C144024400 @default.
- W2053454829 hasConcept C153349607 @default.
- W2053454829 hasConcept C17744445 @default.
- W2053454829 hasConcept C178790620 @default.
- W2053454829 hasConcept C185592680 @default.
- W2053454829 hasConcept C199539241 @default.
- W2053454829 hasConcept C2119116 @default.
- W2053454829 hasConcept C2778344882 @default.
- W2053454829 hasConcept C2778407155 @default.
- W2053454829 hasConcept C2780458788 @default.
- W2053454829 hasConcept C29595303 @default.
- W2053454829 hasConcept C37531588 @default.
- W2053454829 hasConcept C519580073 @default.
- W2053454829 hasConcept C52119013 @default.
- W2053454829 hasConcept C83646750 @default.
- W2053454829 hasConcept C94625758 @default.
- W2053454829 hasConcept C95457728 @default.
- W2053454829 hasConceptScore W2053454829C137355542 @default.
- W2053454829 hasConceptScore W2053454829C142362112 @default.
- W2053454829 hasConceptScore W2053454829C144024400 @default.
- W2053454829 hasConceptScore W2053454829C153349607 @default.
- W2053454829 hasConceptScore W2053454829C17744445 @default.
- W2053454829 hasConceptScore W2053454829C178790620 @default.
- W2053454829 hasConceptScore W2053454829C185592680 @default.
- W2053454829 hasConceptScore W2053454829C199539241 @default.
- W2053454829 hasConceptScore W2053454829C2119116 @default.
- W2053454829 hasConceptScore W2053454829C2778344882 @default.
- W2053454829 hasConceptScore W2053454829C2778407155 @default.
- W2053454829 hasConceptScore W2053454829C2780458788 @default.
- W2053454829 hasConceptScore W2053454829C29595303 @default.
- W2053454829 hasConceptScore W2053454829C37531588 @default.
- W2053454829 hasConceptScore W2053454829C519580073 @default.
- W2053454829 hasConceptScore W2053454829C52119013 @default.
- W2053454829 hasConceptScore W2053454829C83646750 @default.
- W2053454829 hasConceptScore W2053454829C94625758 @default.
- W2053454829 hasConceptScore W2053454829C95457728 @default.
- W2053454829 hasIssue "1" @default.
- W2053454829 hasLocation W20534548291 @default.
- W2053454829 hasOpenAccess W2053454829 @default.
- W2053454829 hasPrimaryLocation W20534548291 @default.
- W2053454829 hasRelatedWork W2088758376 @default.
- W2053454829 hasRelatedWork W2168235605 @default.
- W2053454829 hasRelatedWork W2319644485 @default.
- W2053454829 hasRelatedWork W2354666573 @default.
- W2053454829 hasRelatedWork W2512051130 @default.
- W2053454829 hasRelatedWork W2748952813 @default.
- W2053454829 hasRelatedWork W2990669759 @default.
- W2053454829 hasRelatedWork W4214761556 @default.
- W2053454829 hasRelatedWork W639263666 @default.
- W2053454829 hasRelatedWork W1011873769 @default.
- W2053454829 hasVolume "43" @default.
- W2053454829 isParatext "false" @default.
- W2053454829 isRetracted "false" @default.
- W2053454829 magId "2053454829" @default.
- W2053454829 workType "article" @default.