58:"), the term "national cinema" is hard to define, and its meaning is debated by film scholars and critics. A film may be considered to be part of a "national cinema" based on a number of factors. Simply put, a "nation's cinema" can be attributed to the country that provided the financing for the film, the language spoken in the film, the nationalities or dress of the characters, and the setting, music, or cultural elements present in the film. To define a national cinema, some scholars emphasize the structure of the film industry and the roles played by "...market forces, government support, and cultural transfers..." More theoretically, national cinema can refer to a large group of films, or "a body of
20:
372:. Unique trajectories of Mexican cinema's development shaped historically specific understandings of the ontology of the moving image, leading to unique configurations of documentation and fictionalization. The Revolution spilled across pages of the press, and became the primary subject of Mexican films produced between 1911 and 1916. There was a high interest in topicality in and capturing current events as they unfolded, re-staging, or combining both approaching, created a sensationalist appeal in these visual 'records' of death and injury. Compilation documentaries, such as Toscano's
66:, Philip Rosen suggests national cinema is a conceptualization of: (1) Selected 'national' films/texts themselves, the relationship between them, which be connected by a shared (general) symptom. (2) an understanding of the 'nation' as an entity in synchronicity with its 'symptom'. And (3) an understanding of past or traditional 'symptoms', also known as history or historiography, which contribute to current systems and 'symptoms'. These symptoms of intertextuality could refer to style, medium, content, narrative, narrative structure, costume,
457:(1950) stands as an example that a director's national heritage doesn't always have to contribute to the conceptualization of a nation's cinema. Rather than building the nation through celebration, the film presents problem, which contribute to a global identity and context of the nation state. Buñuel, however, is less interested in presenting some 'identity' of message, national or international, and remarked that "to ask whether the film is Mexican or not, is to resist, to seek, to disperse, the very mystery this film articulates for us".
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247:, German national cinema was influenced by silent and sound "Bergfilm" (this translates to "mountain film"). During the 1920s and early 1930s, German national cinema was known for the progressive and artistic approaches to filmmaking with "shifted conventional cinematic vocabulary" and which gave actresses a much larger range of character-types. During the
346:". In the late 1970s and early 1980s, Wajda, Krzysztof Zanussi and Barbara Sass made influential films which garnered interest outside of Poland. However, even though Western countries became increasingly interested in Polish cinema during this period, the country's film infrastructure and market was disintegrating.
78:
Canadian cultural and film critics have long debated how
Canadian national cinema can be defined, or whether there is a Canadian national cinema. Most of the films shown on Canadian movie screens are US imports. If "Canadian national cinema" is defined as the films made in Canada, then the canon of
262:
from the 1950s through the 1980s, there were West German films and East German films. Film historians and film scholars do not agree whether the films from the different parts of Cold War-era
Germany can be considered to be a single "German national cinema." Some West German films were about the
255:. UFA produced "Hetzfilme" (anti-Semitic hate films) and films which emphasized the "theme of heroic death." Other film genres produced by UFA during the Nazi era included historical and biographical dramas that emphasized the achievements in German history, comedy films, and propaganda films.
489:(1990) by Carlos Carrera). Changes in the politics of film industry institutions allowed these film texts and their directors to "transform the traditional filmic paradigm". Up to 60% of financial assistance for national, Latin American, and European productions were provided by the
97:(1980). Other critics have defined Canadian national cinema as a "...reflection of Canadian life and culture." Some critics argue that there are "two traditions of filmmaking in Canada": The "documentary realist tradition" espoused by the federal government's
444:. Although a mélange of Western and Mexican influences coexist in Fernandez's films, his Mexican biography and locality leave a legacy of romanticizing Mexico and Mexican history, often presenting idyllic ranches, singing, and a charming life of the poor.
426:'s "cinematic norms": narrative linkage, cause and effect, goal oriented protagonists, temporal order or cinematic time, and filmic space as story space. But also, is noted to have incorporated visual folkloric style of
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in the years following the
Mexican Revolution can be seen as part of a broader cultural politics of nationalism that worked to naturalize and to consolidate the political and ideological story of the revolution.
70:, character, background, cinematography. It could refer to cultural background of those who make the movie and cultural background of those in the movie, of spectatorship, of spectacle.
451:'s work in Mexico is another example that presents 'symptoms' of Mexican national identity. Although less well received by lower classes, and more admired by upper classes, Buñuel's
104:
Scott MacKenzie argues that by the late 1990s, if Canada did have a popular cinema with both avant-garde and experimental elements, that was influenced by
European filmmakers such as
635:
Navitsky, Rielle Public
Spectacles of Violence: Sensational Cinema and Journalism in Early Twentieth-Century Mexico and Brazil Durham, NC: Duke University Press 344 pp., $ 27.95,
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to describe the films associated with a specific nation-state. Although there is little relatively written on theories of national cinema it has an irrefutably important role in
112:. MacKenzie argues that Canadian cinema has a "...self-conscious concern with the incorporation of cinematic and televisual images", and as examples, he cites films such as
298:. While these directors made films with "many ideological and cinematic messages", they all shared the common element of providing an "aesthetic alternativ(e) to
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Although it is difficult to determine and define a 'national cinema', much of what many consider
Mexican national cinema, but not limited to, is
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Torres San Martin, Patricia. “The
Guadalajarans’ Amores Perros.” Comunicación y Sociedad, núm. 37 , June 2000, pp. 179–202., doi:10.15417/1881.
549:, cited in Jimmy Choi. Is National Cinema Mr. MacGuffin? International Films/ The Institute of Communications Studies, University of Leeds, UK.
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422:, are often considered part of the Mexican national cinematic body. These films, and most popular films of the 1920s in Mexico, adopted
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Jimmy Choi. Is
National Cinema Mr. MacGuffin? International Films. The Institute of Communications Studies, University of Leeds, UK.
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Modern genres embraced and nurtured as 'Mexican national cinema' are often those of the social and family melodrama genre (the
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France's national cinema includes both popular cinema and "avant-garde" films. French national cinema is associated with the
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have over the years produced a large body of critically acclaimed and award-winning films by the likes of Oscar winner
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Vitali, V., & Willemen, P. (2006). Theorising national cinema. London: Bfi (British Film
Institute) Publishing.
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46:. Film provides a unique window to other cultures, particularly where the output of a nation or region is high.
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Publication Date: June 2017. History: Reviews of New Books. 46. 71-72. 10.1080/03612759.2018.1436314.
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2014:
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Scott MacKenzie, University of
Glasgow. National Identity, Canadian Cinema, and Multiculturalism.
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produces movies in over 18 languages and sells more tickets than any other country in the world.
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filmmakers and with a variety of specific movements. Avant-garde filmmakers include
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The New German Cinema of the 1970s and 1980s included films by directors such as
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Canadian cinema would have to include lightweight teen-oriented fare such as
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739:. Volume 30, Screen, Volume 30, Issue 4, 1 October 1989, Pages 36–47.
603:, by Sabine Hake. London and New York: Routledge, 2002. Trade paper,
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era, the major film studio UFA was controlled by Propaganda Minister
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342:, the Polish School made films which can be described as the "
302:" films (even though Fassbinder was influenced by the works of
263:"immediate past in sociopolitical thought and in literature".
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701:. Edited by Valentina Vitali and Paul Willemen. June 2006.
673:
Observations on film art: National cinemas: South Korea
625:. Review of Marek Haltof's book Polish National Cinema.
54:
Like other film theory or film criticism terms (e.g., "
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469:(1991) by Alfonso Arau), the working class melodrama (
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The Guide To Movie Lists: Filmographies of the World
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684:Observations on film art: National cinemas: Iran
621:Shelia Skaff. The cinema that is Marek Haltof's
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213:cinema" of France includes filmmakers such as
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814:. London and New York: Routledge, 2010.
807:. London and New York: Routledge, 2003.
781:. London and New York: Routledge, 2009.
774:. London and New York: Routledge, 2009.
767:. London and New York: Routledge, 2009.
760:. London and New York: Routledge, 2005.
753:. London and New York: Routledge, 2010.
746:. London and New York: Routledge, 2008.
732:. London and New York: Routledge, 2005.
715:. London and New York: Routledge, 2002.
708:. London and New York: Routledge, 2005.
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653:Like Water for Chocolate|Golden Globes
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611:. Reviewed by Robert von Dassanowsky.
582:Susan Hayward. French National Cinema
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473:(1991) by Maria Novaro), the comedy (
491:Instituto Mexicano de Cinematografia
430:, the deconstructing landscapes of
380:Later narrativized dramas, such as
322:" of filmmakers developed, such as
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765:Russian and Soviet National Cinema
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368:and films that revolve around the
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725:. New York: Berghahn Books, 2002.
275:past, such as Wolfgang Staudte's
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447:Although of European heritage,
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366:Golden Age of Mexican Cinema
338:. According to film scholar
34:is a term sometimes used in
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699:Theorising National Cinema
547:Australian National Cinema
281:The Murderers Are Among Us
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64:Theorising National Cinema
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466:Como agua para chocolate
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805:Spanish National Cinema
803:Triana-Toribio, NĂşria.
779:British National Cinema
772:Italian National Cinema
751:Mexican National Cinema
374:Memorias de un Mexicano
209:. The 1990s and 2000s "
101:and avant-garde films.
1800:Bosnia and Herzegovina
742:Maingard, Jacqueline.
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600:German National Cinema
462:Golden Globe nominated
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706:Irish National Cinema
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320:Polish School of Film
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1577:United Arab Emirates
840:Transnational cinema
487:La mujer de Benjamin
25:Indian film industry
2126:& transnational
825:Musical nationalism
358:Nuevo Cine Mexicano
215:Jean-Jacques Beinex
201:filmmakers include
189:filmmakers include
99:National Film Board
2235:New Wave in cinema
1978:Dominican Republic
830:Third World Cinema
763:Renfre, Alistair.
497:In other countries
475:SĂłlo con tu pareja
370:Mexican Revolution
344:Cinema of Distrust
243:During the German
141:(Le Confessionnal)
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267:films were often
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139:The Confessional
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44:globalization
41:
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2343:West Germany
2184:
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2158:Soviet Union
1910:German Turks
1684:Soviet Union
1608:Soviet Union
1562:Saudi Arabia
1462:Turkmenistan
1376:Southeastern
1136:South Africa
1029:Burkina Faso
886:
876:World cinema
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511:Bong Joon-ho
500:
486:
483:costumbrismo
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409:
406:Saián Mexico
405:
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340:Marek Haltof
332:Andrzej Munk
324:Wojciech Has
317:
304:Douglas Sirk
285:
280:
276:
257:
242:
234:
195:Marcel Carné
183:Jean Epstein
181:, Marie and
172:
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137:
127:
117:
103:
92:
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31:
30:
2364:Film theory
2318:Philippines
2143:Middle East
2110:New Zealand
2003:Puerto Rico
1927:Switzerland
1922:Netherlands
1442:Afghanistan
1409:Philippines
983:South Sudan
503:South Korea
449:Luis Buñuel
308:Third Reich
296:Wim Wenders
265:East German
258:During the
191:Jean Renoir
143:(1995) and
124:Atom Egoyan
110:Wim Wenders
36:film theory
2358:Categories
2303:Kazakhstan
2241:By country
2133:Arab World
1968:Costa Rica
1917:Luxembourg
1850:Yugoslavia
1830:Montenegro
1490:Azerbaijan
1467:Uzbekistan
1457:Tajikistan
1452:Kyrgyzstan
1447:Kazakhstan
1322:Rajasthani
1222:Bangladesh
1034:Cape Verde
968:Madagascar
835:Cinephilia
641:082236963X
521:References
477:(1991) by
411:Pueblerina
288:Fassbinder
219:Luc Besson
211:postmodern
119:Videodrome
94:Death Ship
91:(1981) or
60:textuality
50:Definition
2287:Malayalam
2278:Hong Kong
2253:Australia
2248:Argentina
2100:Australia
2078:Venezuela
2023:Argentina
1867:Catalonia
1747:Lithuania
1552:Palestine
1414:Singapore
1394:Indonesia
1366:Sri Lanka
1359:Lollywood
1297:Malayalam
1172:Hong Kong
973:Mauritius
395:Enamorada
389:The Pearl
300:Hollywood
82:Meatballs
2333:Thailand
2068:Suriname
2053:Paraguay
2043:Colombia
1940:Americas
1857:Slovenia
1840:Portugal
1788:Southern
1772:Scotland
1705:Northern
1691:Slovakia
1644:Bulgaria
1591:Northern
1419:Thailand
1404:Malaysia
1389:Cambodia
1354:Pakistan
1327:Sanskrit
1287:Kashmiri
1272:Haryanvi
1267:Gujarati
1247:Bhojpuri
1237:Assamese
1214:Southern
1199:Mongolia
1126:Botswana
1119:Southern
1100:Congo DR
1085:Cameroon
1008:Zimbabwe
993:Tanzania
958:Ethiopia
948:Djibouti
905:Northern
819:See also
310:"(159).
260:Cold War
253:Goebbels
151:(1991).
132:(1987),
122:(1983),
85:(1979),
56:art film
2323:Romania
2313:Nigeria
2263:Britain
2092:Oceania
2073:Uruguay
2062:Iquitos
2048:Ecuador
2028:Bolivia
1988:Jamaica
1905:Germany
1895:Belgium
1890:Austria
1883:Western
1872:Galicia
1805:Croatia
1795:Albania
1737:Ireland
1732:Iceland
1727:Finland
1717:Estonia
1712:Denmark
1696:Ukraine
1669:Romania
1659:Moldova
1654:Hungary
1639:Belarus
1632:Eastern
1542:Lebanon
1505:Georgia
1495:Bahrain
1485:Armenia
1477:Western
1434:Central
1424:Vietnam
1317:Punjabi
1307:Marathi
1292:Konkani
1282:Kannada
1257:Deccani
1242:Bengali
1159:Eastern
1131:Namibia
1073:Central
1059:Senegal
1054:Nigeria
1044:Liberia
1017:Western
978:Somalia
953:Eritrea
941:Eastern
932:Tunisia
927:Morocco
912:Algeria
792:, 2018
418:and/or
229:Germany
88:Porky's
2328:Taiwan
2308:Mexico
2273:France
2258:Brazil
2033:Brazil
1993:Mexico
1961:Quebec
1956:Canada
1900:France
1845:Serbia
1820:Kosovo
1810:Greece
1757:Sweden
1752:Norway
1742:Latvia
1674:Russia
1664:Poland
1624:Europe
1598:Russia
1572:Turkey
1537:Kuwait
1532:Jordan
1525:Jewish
1520:Israel
1500:Cyprus
1337:Telugu
1302:Meitei
1227:Bhutan
1204:Taiwan
1080:Angola
1003:Zambia
998:Uganda
897:Africa
796:
639:
607:
485:film (
471:Danzon
350:Mexico
314:Poland
294:, and
292:Herzog
269:Soviet
197:. The
175:auteur
155:France
149:Masala
74:Canada
2298:Japan
2283:India
2115:Samoa
2038:Chile
2015:South
1983:Haiti
1948:North
1862:Spain
1825:Malta
1815:Italy
1777:Wales
1582:Yemen
1567:Syria
1557:Qatar
1384:Burma
1349:Nepal
1332:Tamil
1312:Oriya
1277:Hindi
1262:Dogri
1232:India
1192:South
1187:North
1182:Korea
1177:Japan
1167:China
1105:Gabon
1049:Niger
1039:Ghana
1024:Benin
988:Sudan
963:Kenya
922:Libya
917:Egypt
800:401p.
408:, or
2293:Iran
2105:Fiji
2058:Peru
1973:Cuba
1547:Oman
1515:Iraq
1510:Iran
1399:Laos
1342:Tulu
1150:Asia
1095:Chad
1064:Togo
794:ISBN
637:ISBN
605:ISBN
507:Iran
505:and
356:See
334:and
273:Nazi
249:Nazi
235:See
221:and
205:and
193:and
165:and
161:See
108:and
38:and
23:The
438:'s
414:by
283:).
147:'s
136:'s
116:'s
2360::
721:.
587:^
555:^
517:.
404:,
398:,
392:,
386:,
330:,
326:,
290:,
225:.
217:,
185:.
126:'s
2289:)
2285:(
2228:e
2221:t
2214:v
2064:)
2060:(
868:e
861:t
854:v
279:(
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