Essay on "Hollywood Truly Global? Hollywood Represents a Specific"

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[EXCERPT] . . . .

Hollywood Truly Global?

Hollywood represents a specific image and ideal. Its role in the formation of major movie success has allowed it to become a dominating force within international cinema. However, exactly how much influence is exerted enough to drown out local storytelling techniques? Take the example of Bollywood. It emulates Hollywood narratives; yet proves to add in traditional and local elements as a way to express national culture through a foreign medium. No cinema can be completely devoid of Hollywood's influence; but Hollywood can serve as a platform to facilitate more native forms of national identity through film.

Hollywood style represents so many elemental and technical aspect of film making associated with American cinema. It is heavily influenced with theatrical and literature techniques seen in both Romantic and Victorian Western eras, "Certainly the Hollywood style seeks effects that owe a good deal to say, romantic music or nineteenth century melodrama," (Bordwell et al. 1998 p 4). Thus, there are strong Romantic and Victorian elements of the story-telling aspects of traditional Hollywood style. Traditional narratives and plot lines resemble common literary practices and have a solid cohesion rather than disrupted series of events or time durations; Hollywood style is "A system of narrative logic, which depends upon story events and casual relations and parallelisms among them," (Bordwell et al. 1998 p 6). The actual technology of cinema also helps define what it is to be considered American cinema. Traditional Hollywood style tends to use various elements such as "three point lighting, continuity editing, 'movie music,' centered framings, dissolves, e

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tc.," (Bordwell et al. 1998 p 6). American cinema stemming out of Hollywood also has elements of cinematic time and space that show typical patterns of representing the style. These concepts don't act independently, but rather as serve as part of the functions of the story telling, rather than a story themselves; "In Hollywood style, the systems do not play equal roles: space and time are almost invariably made vehicles or narrative causality," (Bordwell et al. 1998 p 6). Understanding the elements of the Hollywood style is an important necessity when comparing it to foreign cinema, such as Bollywood films.

The tradition Hollywood style is also represented by the technical features as well as style. Typical American cinema uses the 16mm camera which lends a unique influence to the final visual image. The Hollywood style also relies on continuity editing, focuses on maintaining the 180-degree axis of action, which dictates that the camera should stay on one side of the action to ensure consistent special relations between objects to the right and left of the frame," (Ganti 2004 p 142). Filmmaking and cinematography within the style also tends to share similar camera methodologies as well. The Hollywood style uses a blended style of mixed short and long scene arrangements, with "lengthy camera movements alternate with fixed and shorter shots," (Bordwell et al. p 380). Such technical elements then have strong influences on the final visual representation of the message. It is a standard concept in Hollywood style to "Script your film in advance, make sure the camera is level, balance your compositions, use backlighting and lots of close ups," (Bordwell et al. p 379).

The image and impact of American cinema also depends greatly on the foundation that created it -- a studio system built on larger productions. After studios took control of most productions in Hollywood, movies became massive investments centralized under one specific leadership. Movies were then molded by the studio system based on the need for proper management and funding. This practice cam early on, "During the 1910s, companies also began to integrate the mass production of movies in purpose-built studios in Los Angeles with system of mass distribution, the first stage in the evolution of vertical integration within the industry," (Maltby 2003 p 111). Since its inception within the industry, the studio system was incredibly successful. It helped generate large profits and produced quality films that audiences demanded; "From the 1920s to the 1950s, the studio system was a way of organizing production to suit these economic preconditions, and the stability of that system generated the familiar style, the immediately recognizable patterns of camera movement, editing, narrative, and genre, that identify a Hollywood movie," (Maltby 2003 p 118). Not only did the process solidify the image of the Hollywood style within a mass producible form, it also created the situation for repetition in other external markets.

Since very early on, Hollywood films have dominated the international cinematic arena. According to many, "Hollywood was an international industry, not just an American one," (Maltby 2003 p 126). After seeing initially large profits and success, Hollywood studios looked for fresh new markets. Hollywood films were being demanded all over the world, and the style "achieved its domination of the world's movie screens during World War I, and consolidated its hold during the 1920s with the aggressive marketing of a product that seemed to have universal appeal," (Maltby 2003 p 126). American movies represented specific norms and values that people all over the world began adopting. With a seemingly standardized hub creating the image and representation of typical values and interactions. There was an early Americanization of global cinema; "American movies and their stars were a significant part of millions of non-American people's daily experience and personal identity," (Maltby 2003 p 127). Part of this phenomenon was not only initial popularity, but also a carefully calculated business strategy. Hollywood studios soon realized that the sales strategy of selling and distributing American movies super cheap to international markets "was part of a deliberate American policy of weakening the international competition," (Maltby 2003 p 127). Studios found great success in foreign markets. Millions of dollars were being generated annually, and so Hollywood continued the aggressive strategy. Eventually, "By the early 1960s foreign sales generated about half of the majors' revenues, and, with minor fluctuations, the division between domestic and foreign income has remained roughly equal ever since," (Maltby 2003 p 127). Thus, movies became mass produced and spread all over new lengths.

Researchers posit the idea that international cinemas react in generally two ways to traditional Hollywood style: they either imitate or differentiate. Several known international cinema efforts completely imitate the Hollywood style. Clearly,

Influence of Hollywood "It is evident that the 'ordinary film' of France, Germany, and even Japan and Russia constructed causality, time, and space in ways characteristic of the normal Hollywood film," (Bordwell et al. 1998 p 379). Thus, the compilation of international cinemas shows patterns relating to Hollywood narrative and technical styles. Based on "The accessibility of Hollywood cinema to audiences of different cultures made it a transitional standard," (Bordwell et al. 1998 p 379). Yet, this is only one reaction to the Hollywood style. The other proves to be a choice of differentiation. In many nations, there is a reaction against traditional style, there is a "the need within various countries to distinguish domestic films from the American product," (Bordwell et al. p 379). This means use of new and anti-Hollywood techniques. However, overall this form of cinema did not become largely popular on such a large scale, such as the one seen in the classical Hollywood image.

The recognized Bollywood cinema style represents the unique relationship Hollywood has with other international cinema styles. As one of the most popular Indian styles of filmmaking, Bollywood proves to take some elements form Hollywood style, while also embodying its own unique flare and style. According to research, "Cinema in India has a history that is relatively coterminous with film making in the West," (Ganti 2004 p 5). Bollywood is in many ways heavily influenced by the British occupancy -- which ruled over India for generations. It appealed to the British influence of society, as well as providing Hollywood another cinema to influence. The British occupancy brought in Western styles and standards. These stemmed from romantic and Victorian traditions, which came from similar Hollywood's stories and plot lines. In fact. Some films are replicas of popular Hollywood tales. Some films are adapted directly from actual American cinema "Hollywood films, however are not selected on the basis of box-office outcome, but chosen for plots which seem novel and amendable to adaptation," (Ganti 2004 p 77). Thus, Hollywood shows its strong influence over international cinemas.

India also proved to adopt a similar distribution structure seen in the Hollywood system. India proved to have the economic resources to compete with American cinema and keep up with American technological advances. Research shows that" the economic base of Bombay allowed for film technology to take root and flourish as capitol from other industrial and commercial activity flowed into filmmaking," (Ganti 2004 p 7). This occurred even early on and emulated the studio system; "The increased profitability of the cinema enabled filmmakers to reinvest their gains in new productions and additional infrastructure such as studios, laboratories, theaters," (Ganti 2004 p 11). Thus, India emulated both plots and technical elements of style.

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Quoted Instructions for "Hollywood Truly Global? Hollywood Represents a Specific" Assignment:

“

*****˜Living in the twentieth century means learning to be American*****. Is Hollywood dominance truly global, or can individual international cinemas exist outside of its influence? Discuss in relation to one national cinema. (2000-2500 words)

EXPECTED LEARNING OUTCOMES:

- A critical awareness of debates concerning cinema as commodity.

- An evaluative engagement with, and understanding of, relevant academic literature

- Critical and analytical skills

- Research and writing skills: the ability to construct an argument, apply theoretical models as analytical tools, and to research and write an essay in an appropriate academic form.

READING LIST: Many of these books have helpful BIBLIOGRAPHIES

KEY TEXTS

Bordwell, D., Staiger J. and Thompson, K. (1985) THE CLASSICAL HOLLYWOOD CINEMA FILM STYLE AND MODE OF PRODUCTION TO 1960. London: Routledge and Kegan

Bordwell, D. and Thompson, K. (2008) FILM ART: AN INTRODUCTION. (Eighth Edition) Boston, Mass.; London: McGraw-Hill

Bradley, L., Barton Palmer, R. and Schneider, S.J. (eds.) (2006) TRADITIONS IN WORLD CINEMA. Edinburgh: Edinburgh University Press

Caughie J. (ed.) (1981) THEORIES OF AUTHORSHIP: A READER. London: Routledge

Cook, P. (2007) THE CINEMA BOOK. (Third Edition) London: BFI

Creeber, G. (2004) SERIAL TELEVISION: BIG DRAMA ON THE SMALL SCREEN. London: BFI

Dyer, R. (1998) STARS. London: BFI Publishing

Grant, B.K. (2007) FILM GENRE: FROM ICONOGRAPHY TO IDEOLOGY. London: Wallflower Press

Grant, B.K. (ed.) (2003) FILM GENRE READER III. Austin: University of Texas Press

Higson, A. (2003) ENGLISH HERITAGE, ENGLISH CINEMA: COSTUME DRAMA SINCE 1980. Oxford: Oxford University Press

Hill, J. and Church Gibson, P. (eds.) (1998) THE OXFORD GUIDE TO FILM STUDIES. Oxford: OUP

Neale, S. (ed.) (2002) GENRE AND CONTEMPORARY HOLLYWOOD. London: BFI

Nelmes, J. (2007) AN INTRODUCTION TO FILM STUDIES. (Fourth Edition) Abingdon: Routledge

Pramaggiore, M. and Wallis, T. (2008) FILM: A CRITICAL INTRODUCTION. (Second Edition) London: Lawrence King

Vitali, V. and Willemen, P. (eds.) (2006) THEORISING NATIONAL CINEMA. London: BFI

FURTHER READING

Week by Week Reading

The following lists of texts are readings that support the weekly class activities. You are not expected to read everything on the list but you should follow up on the subject areas that interest you and which will support your assignment.

WEEK ONE *****“ CLASSICAL HOLLYWOOD

Balio, T. (ed.) (1985) THE AMERICAN FILM INDUSTRY. (revised Edition) Madison, Wis.: University of Wisconsin Press

Buscombe, E. (2003) CINEMA TODAY. London: Phaidon

Franklin, D.P. (2006) POLITICS AND FILM: THE POLITICAL CULTURE OF FILM IN THE UNITED STATES. Rowman and Littlefield

Gledhill, C. (ed.) (1991) STARDOM: INDUSTRY OF DESIRE. London: Routledge

Gomery, D. (1992) SHARED PLEASURES: A HISTORY OF MOVIE PRESENTATION IN THE UNITED STATES. Madison, Wiss.: University of Wisconsin Press

Harbord, J. (2007) THE EVOLUTION OF FILM: RETHINKING FILM STUDIES. Cambridge: Polity

Macdonald, P. (2000) THE STAR SYSTEM: HOLLYWOOD*****S PRODUCTION OF POPULAR IDENTITIES. London: Wallflower Press

Mathijs, E. and Mendick, X. (eds.) (2008) THE CULT FILM READER. Maidenhead: Open University Press

Turner, G. (2006) FILM AS SOCIAL PRACTICE IV. (Fourth Edition) New York: Routledge

Turner, G. (ed.) (2002) THE FILM CULTURES READER. London: Routledge

Tzioumakis, Y. (2006) AMERICAN INDEPENDENT CINEMA: AN INTRODUCTION. Edinburgh: Edinburgh University Press

WEEK TWO *****“ GENRE

Altman, R. (1987) THE AMERICAN FILM MUSICAL. Bloomington: Indiana University Press

Clover, C. (1992) MEN, WOMEN AND CHAINSAWS: GENDER IN THE MODERN HORROR FILM. Princeton, NJ: Princeton University Press

Creeber, G. (ed.) (2001) THE TELEVISION GENRE BOOK. London: BFI

Feuer, J. (1993) THE HOLLYWOOD MUSICAL. (Second Edition) Bloomington: Indiana University Press

Gledhill, C. (ed.) (1987) HOME IS WHERE THE HEART IS: STUDIES IN MELODRAMA AND THE WOMAN*****S FILM. London: BFI Publishing

King, G. and Kryzwinska, T. (2000) SCIENCE FICTION CINEMA: FROM OUTER SPACE TO CYBERSPACE. London: Wallflower Press

Kuhn, A. (ed.) (1999) ALIEN ZONE II: THE SPACES OF SCIENCE-FICTION CINEMA. London: Verso

Lacey, N. (2000) NARRATIVE AND GENRE: KEY CONCEPTS IN MEDIA STUDIES. Basingstoke: Palgrave

Langford, B. (2005) FILM GENRE: HOLLYWOOD AND BEYOND. Edinburgh: Edinburgh University Press

Neale, S. (2000) GENRE AND HOLLYWOOD. London: Routledge

Saunders, J. (2001) THE WESTERN GENRE: FROM LORDSBURG TO BIG WHISKEY. London: Wallflower Press

Smith, S. (2005) THE MUSICAL: RACE, GENDER AND PERFORMANCE. London: Wallflower Press

Wells, P. (2000) THE HORROR GENRE: FROM BEELZEBUB TO BLAIR WITCH. London: Wallflower

Worland, R. (2007) THE HORROR FILM: AN INTRODUCTION. Malden, MA; Oxford: Blackwell Pub.

WEEK THREE *****“ THE AUTEUR THEORY

Bazin, A. (1962) WHAT IS CINEMA? Vol. I & II. Berkeley: University of California Press

Dixon, W.W. (1993) THE EARLY FILM CRITICISM OF FRANCOIS TRUFFAUT. Bloomington: Indiana University Press

Elsaesser, T.; Horwath, A. and King, N. (eds.) (2004) THE LAST GREAT AMERICAN PICTURE SHOW: NEW HOLLYWOOD CINEMA IN THE 1970s. Amsterdam: Amsterdam University Press

Flowers, J. (trans.) (2006) THE HOLLYWOOD INTERVIEWS. Oxford: Berg

Gerstner, D.A. and Staiger, J. (eds.) (2003) AUTHORSHIP AND FILM. New York; London: Routledge

Hayward, S. (2006) CINEMA STUDIES: THE KEY CONCEPTS. (Third edition) London: Routledge

Hayward, S. (1998) LUC BESSON. Manchester: Manchester University Press

Lapsley, R. and Westlake, M. (2006) FILM THEORY: AN INTRODUCTION. (Second edition) Manchester: Manchester University Press

Miller, T. and Stam, R. (eds.) (2004) A COMPANION TO FILM THEORY. Oxford: Blackwell

Monaco, J. (1976) THE NEW WAVE: TRUFFAULT, GODARD, CHABROL, ROHMER, RIVETTE. New York: Oxford University Press

Narboni, J. and Milne, T. (eds.) (1986) GODARD ON GODARD: CRITICAL WRITINGS BY JEAN LUC GODARD. New York: Da Capo

Sarris, A. (1996) THE AMERICAN CINEMA: DIRECTORS AND DIRECTIONS 1929-1968. New York: Da Capo

Teo, S. (2005) WONG KAR-WAI: AUTEUR OF TIME. London: BFI

Wexman, V.W. (2003) FILM AND AUTHORSHIP. New Jersey: Rutgers University Press

Wollen, P. (2002) PARIS HOLLYWOOD: WRITINGS ON FILM. London: Verso

Wollen, P. (1998) SIGNS AND MEANINGS IN THE CINEMA. (Fourth edition) London: Secker and Warburg / BFI

WEEKS FOUR & FIVE *****“ WORLD & NATIONAL CINEMA

Beumers, B. (2006) THE CINEMA OF RUSSIA AND THE FORMER SOVIET UNION. London: Wallflower

Bordwell, D. and Thompson, K. (2003) FILM HISTORY: AN INTRODUCTION. (Second Edition) Boston: McGraw-Hill

Bondanella, P.(2001) ITALIAN CINEMA: FROM NEOREALISM TO THE PRESENT. (Third edition) London: Continuum

Chaudhuri, S. (2005) CONTEMPORARY WORLD CINEMA: EUROPE, THE MIDDLE EAST, EAST ASIA AND SOUTH ASIA. Edinburgh: Edinburgh University Press

Codell, J.F. (2007) GENRE, GENDER, RACE AND WORLD CINEMA. Malden, MA: Blackwell

Cowie, P. (2006) REVOLUTION!: THE EXPLOSION OF WORLD CINEMA IN THE 60s. London: Faber

Crofts, S. (1993) *****˜Reconceptualizing National Cinema/s*****, in QUARTERLY REVIEW OF FILM AND VIDEO. vol. 14, no. 3, pp. 49-67

Dennison, S. and Lim, S.H. (eds.) (2006) REMAPPING WORLD CINEMA: IDENTITY, CULTURE AND POLITICS IN FILM. London: Wallflower Press

Elsaesser, T. and Wedel, M. (eds.) (1999) THE BFI COMPANION TO GERMAN CINEMA. London: BFI

Gillespie, D. (2000) EARLY SOVIET CINEMA: INNOVATION, IDEOLOGY AND PROPAGANDA. London: Wallflower Press

Grainge, P., Jancovich, M. and Moneith, S. (2007) FILM HISTORIES: AN INTRODUCTION AND READER. Edinburgh: Edinburgh University Press

Grant, C. and Kuhn, A. (eds.) (2006) SCREENING WORLD CINEMA: A SCREEN READER. London: Routledge

Greene, N. (2007) THE FRENCH NEW WAVE: A NEW LOOK. London: Wallflower Press

Hames, P. (2005) THE CZECHOSLOVAK NEW WAVE. London: Wallflower Press

Hames, P. (ed.) (2004) THE CINEMA OF CENTRAL EUROPE. London: Wallflower Press

Higson, A. (1995) WAVING THE FLAG: CONSTRUCTING A NATIONAL CINEMA IN BRITAIN. Oxford: Clarendon Press

Higson, A. (1989) *****˜The Concept of National Cinema*****, in SCREEN. Vol. 30, no. 4, pp. 36-46

Hill, J. and Church Gibson, P. (eds.) (2000) WORLD CINEMA: CRITICAL APPROACHES. Oxford: Oxford University Press

Kracauer, S. (2004) FROM CALIGARI TO HITLER: A PSYCHOLOGICAL HISTORY OF THE GERMAN FILM. Princeton, NJ: Princeton University Press

McRoy, J. (ed.) (2005) JAPANESE HORROR CINEMA. Edinburgh: Edinburgh University Press

Murphy, R. (ed.) (2000) BRITISH CINEMA OF THE 90s LONDON: BFI

Nagib, L. (2007) BRAZIL ON SCREEN: CINEMA NOVO, NEW CINEMA, UTOPIA. London: I.B.Tauris

O*****Regan, T. (1996) AUSTRALIAN NATIONAL CINEMA. London: Routledge

Petric, V. (1987) CONSTRUCTIVISM IN FILM: *****˜THE MAN WITH THE MOVIE CAMERA*****; A CINEMATIC ANALYSIS. Cambridge: Cambridge University Press

Shaw, D. (ed.) (2006) CONTEMPORARY LATIN AMERICAN CINEMA: BREAKING INTRO THE GLOBAL MARKET. Rowman and Littlefield

Temple, M. and Witt, M. (eds.) (2004) THE FRENCH CINEMA BOOK. London: BFI

Turovskaya, M. (1989) TARKOVSKY: CINEMA AS POETRY. London: Faber

Zhang, Y. (2004) CHINESE NATIONAL CINEMA. London: Routledge

WEEK SIX *****“ THE HERITAGE FILM

Chapman, J. (2005) PAST AND PRESENT: NATIONAL IDENTITY AND THE BRITISH HISTORICAL FILM. London: I.B.Tauris.

Gibson, P. C. (2002) *****˜From Dancing Queen to Plaster Virgin: Elizabeth and the End of English Heritage*****, in JOURNAL OF POPULAR BRITISH CINEMA. No. 5, pp.133-141

Corner, J. and Harvey, S. (eds.) (1991) ENTERPRISE AND HERITAGE: CROSSCURRENTS OF NATIONAL CULTURE. London: Routledge

*****, C. (1991) *****˜Rooms without a View*****, in SIGHT AND SOUND. Vol. 1, no. 2, June,

pp. 10-13

Harper, S. (1992) PICTURING THE PAST: THE RISE AND FALL OF THE BRITISH COSTUME FILM. London: BFI Publishing

Hewison, R. (1987) THE HERITAGE INDUSTRY: BRITAIN IN A CLIMATE OF DECLINE. London: Methuen

Higson, A. (ed.) (1996) DISSOLVING VIEWS: KEY WRITINGS ON BRITISH CINEMA. London: Cassel

Hill, J. (1999) BRITISH CINEMA IN THE 1980s: ISSUES AND THEMES. Oxford: Clarendon

Monk, C. (1999) *****˜Heritage Films and the British Cinema Audience in the 1990s*****, in JOURNAL OF POPULAR BRITISH CINEMA. No. 2, pp. 22-38.

Monk, C. and Sargent, A. (eds.) (2002) BRITISH HISTORICAL CINEMA: THE HISTORY, HERITAGE AND COSTUME FILM. London: Routledge

Pidduck, J. (2004) CONTEMPORARY COSTUME FILM: SPACE, PLACE AND THE PAST. London: BFI

WEEK SEVEN *****“ CINEMATIC TELEVISION

Akass, K. and McCabe, J. (2005) READING SIX FEET UNDER: TV TO DIE FOR. London: IB Tauris

Coates, P. (1999) LUCID DREAMS: THE FILMS OF KRZYSZTOF KIESLOWSKI. London: Flicks

Dixon, W.W. (ed.) (2004) FILM AND TELEVISION AFTER 9/11. Southern Illinois University Press

Ellis, J. (1992) VISIBLE FICTIONS:CINEMA, TELEVISION, VIDEO. London: Routledge

Hammond, M. and Mazdon, L. (eds.) (2005) THE CONTEMPORARY TELEVISION SERIES. Edinburgh: Edinburgh University Press

Lavery, D. (2006) READING THE SOPRANOS: HIT TV FROM HBO. London: I.B.Tauris

Lury, K. (2005) INTERPRETING TELEVISION. London: Arnold

Sheen, E. and Davidson, A. (eds.) (2004) THE CINEMA OF ***** LYNCH: AMERICAN DREAMS, NIGHTMARE VISIONS. London: Wallflower Press

Stevenson, J. (2002) LARS VON TRIER. London: BFI

Thornam, S. and Purvis, T. (2005) TELEVISION DRAMA: THEORIES AND IDENTITIES. Basingstoke: Palgrave MacMillan

WEEK EIGHT *****“ NEW MEDIA

Caldwell, J.T. and Everett, A. (eds.) (2003) NEW MEDIA: THEORIES AND PRACTICES OF DIGITEXTUALITY. London: Routledge

Figgis, M. (2007) DIGITAL FILM-MAKING. London: Faber & Faber

Hanson, M. (2004) THE END OF CELLULOID: FILM FUTURES IN THE DIGITAL AGE. Hove: Rotovision

Hatfield, J. (ed.) (2006) EXPERIMENTAL FILM AND VIDEO: AN ANTHOLOGY. Eastleigh: John Libbey Pub.

Inglis, I. (ed.) (2003) POPULAR MUSIC AND FILM. London: Wallflower Press

Reiser, M. and Zapp, A. (eds.) (2002) NEW SCREEN MEDIA: CINEMA / ART / NARRATIVE. London: BFI

Wardrip-Fruin, N. and Monfort, N. (eds.) (2003) THE NEW MEDIA READER. Cambridge, Mass.: MIT Press

Willis, H. (2005) NEW DIGITAL CINEMA: REINVENTING THE MOVING IMAGE. London: Wallflower Press

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