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Choreographing the Global in European Cinema and TheaterDesiring the Global

Choreographing the Global in European Cinema and Theater: Desiring the Global [If the bourgeois novel shaped how nineteenth- and twentieth-century readers felt themselves to be part of a nation, as Benedict Anderson has argued, then film has been the preeminent vehicle of an international and global imagination.2 The cinema was the first culture industry that produced for a global market, which after World War II was dominated by films made in Hollywood. After a long period of protectionist policies during which European countries fostered a focus on national themes and high-art styles, the building of an infrastructure for cooperative European production and distribution networks in the 1990s aims to develop a transnational cinema in Europe that is both globally competitive and distinct from Hollywood. The American film industry since the 1920s and the European film industries since the 1990s have thematized international encounters and emergent transnational notions of community, engendering narratives and tropes of familial belonging, desire, and affinity. The cinematic culture industries are thus part and parcel of the political and economic transformations the films depict. The question I want to pursue through a series of exemplary readings in this chapter is whether the Hollywood model of cinematic production marked by commercial profitability and political conformity indeed provides less opportunity for a critique of global capitalism than the German tradition of state-supported artistic independence and what the consequences and implications are of the “sublation” of national cinema in the European film industry today (Halle 2002).] http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png

Choreographing the Global in European Cinema and TheaterDesiring the Global

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Publisher
Palgrave Macmillan US
Copyright
© Palgrave Macmillan, a division of Nature America Inc. 2008
ISBN
978-1-349-37498-4
Pages
31 –74
DOI
10.1057/9780230615458_2
Publisher site
See Chapter on Publisher Site

Abstract

[If the bourgeois novel shaped how nineteenth- and twentieth-century readers felt themselves to be part of a nation, as Benedict Anderson has argued, then film has been the preeminent vehicle of an international and global imagination.2 The cinema was the first culture industry that produced for a global market, which after World War II was dominated by films made in Hollywood. After a long period of protectionist policies during which European countries fostered a focus on national themes and high-art styles, the building of an infrastructure for cooperative European production and distribution networks in the 1990s aims to develop a transnational cinema in Europe that is both globally competitive and distinct from Hollywood. The American film industry since the 1920s and the European film industries since the 1990s have thematized international encounters and emergent transnational notions of community, engendering narratives and tropes of familial belonging, desire, and affinity. The cinematic culture industries are thus part and parcel of the political and economic transformations the films depict. The question I want to pursue through a series of exemplary readings in this chapter is whether the Hollywood model of cinematic production marked by commercial profitability and political conformity indeed provides less opportunity for a critique of global capitalism than the German tradition of state-supported artistic independence and what the consequences and implications are of the “sublation” of national cinema in the European film industry today (Halle 2002).]

Published: Oct 10, 2015

Keywords: German Democratic Republic; Creative Industry; Film Industry; Global Imagination; Love Object

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