stacyfitzpatrick.weebly.com · Web viewUnit 11: Film Studies Wider Film Theoretical Models: An Understanding Introduction. Within this essay I will explore wider film readings and

Unit 11: Film Studies HNC Creative Media Production

Unit 11: Film Studies

Wider Film Theoretical Models: An Understanding

Introduction.Within this essay I will explore wider film readings and show my understanding of what they are. Why and how we use them. I will select one style of Film reading as a case study to critically review in detail.

What are wider film readings and why we use them?

Wider film readings, exist parallel to genre within film. Genre will indicate the narrative and content to be expected in a film, whereas film theory shows the theme and style of message embedded in the film, which coexists along with the genre for the storytelling, yet will have its own set of signifiers, codes and conventions within the film text. A reception theory can work with more than one genre. For example, the surrealist style, imagery and storytelling of The Secret Life Of Walter Mitty are combined with the narrative of comedy and drama genre. Whereas the surrealist visual depiction of Eraserhead belong to the Thriller genre.They are used by filmmakers to sculpt a theme and purpose within the storytelling that is on a more subconsciously received level than genre. An audience will mostly choose a film to watch based on the genre and synopsis of storyline. This is done in an active viewing mode on the most conscious level of thought. Wider film readings may be done in more of a passive way, in which the viewer may not be consciously aware of why they want to watch the film. From the films narrative description they will have a good insight into the story and be drawn to the message indicated, have an interest in the subject matter etc. but the way the story is actually projected is unknown until the viewing. It is at that point a viewer connects or disconnects with the message and imagery being shown to them. Directors and scriptwriters in a way that that is their defined style of filmmaking use these theoretical models. They become known for their style of expression in which guides more astute audiences in their film viewing choices. In the same way genre has codes and conventions for audiences to understand and engage with the text and have a degree of expectation from the film, so does film theoretical models. Theoretical film models will affect the audience in different ways, the style of filmmaking will express the films message and meaning in its own style. An audience will recognize how a model affects them on an emotional and understanding level and the feelings the film style invokes. For example, a psychoanalytical film will be more easily understood and enjoyed by a viewer more so than a complex surrealist film. The viewer who understands and enjoys surreal films may not enjoy or connect to a Marxist film, as the messages and film making style differ greatly in how they make a person think and respond. Each type of film theoretical model will have a style and set of signifiers and conventions that identify it as belonging to that model. There will be a theme and similarity in the message the film conveys and key common techniques in the filmmaking, which are used to identify the films grouping.

Lecturer: Faustina Starrett Stacy Fitzpatrick


Film Reading Case Studies.

To portray my understanding of Film readings I have chosen to examine National Cinema. I will examine the history and fundamental practices that make National Cinema a film reading using a wide range of examples and selecting Irish National Cinema as an in depth breakdown.

What Is National Cinema

National Cinema can be defined in a number of ways. A National Cinema film will usually be made in the country or nation of which it is grouped. These films can be funded by other countries that make them co productions, (usually this is done with Hollywood investment to make a big budget production) or they can be funded within the country. An example of this is Michael Collins, an Irish National Cinema co production with Hollywood.

Many people will have different opinions on to what makes a film National Cinema as Philip Rosen illustrates in Theorising National Cinema.1 In his chapter he examines the opinions of Siegfried Krackeur and Noel Burch. Krackeur views characterization, plot and social realism to group a collection of films as National Cinema as shown in his theorising of German National Cinema being films about Nazi Germany, whereas Burch looks at codes and conventions, camerawork and techniques.

For these films to remain true to being part of national cinema, with another countries funding, the director may be Irish, the filming will take place in the country itself, a proportion of the cast and crew will be from the nation.

A National Cinema Film will reflect a nations identity in the narrative and text. If a film is made independently by the nation, this will be the native directors expression to the rest of the world showing a true reflection of the country and its people. Outsiders of the nation will have an image and expectation of what the country is like. For example, Spain is associated with Bullfighting and Flamenco and a film made depicting Spain may use these themes as signifiers within a film text, whereas a Spanish filmmaker may portray real Spain.

A country can have different style of National Cinema dependant on the region where, dialect, lifestyles, culture and social opinions are different. This is evident in Brazil, and also in Ireland, where North and South produce different film themes relatable to issues they face.National Cinema films will depict realistic situations that reflect what the inhabitants of the country will have experienced or relate to. This can be current and modern situations reflecting everyday life and using language and scenarios that the native audience will understand and relate to more so than a non-national, or can portray historical events and cultural issues.

1 Theorising National Cinema, 2006, p.22



National films can be made for the audience of the nation it is made in, or to portray to an international audience the realism of the nation. These films will portray the nation visually, culturally, socially and politically with the typical personality traits such as sense of humour, conservatism etc. that is typical to the people of the country. These can be a representation of the citizens of the nation conforming to the stereotypes the world has placed upon the nation, or they can be reimaged showing the world the actual people.

Domestic Film- Films made within a country economically aiding the country and spoken in the language of the country also make up National Cinema. These will usually be independent productions and would be targeted to the countries native audience rather than targeted to non-nationals. This leads to another variation of National Cinema in which films are made for propaganda. These would be intended for the citizens of the country and made to invoke action of some form.2

Global National Cinema: Hollywood Vs. The World

As it has been established that national cinema is relative to the issues of that country, every countries style of National Cinema will be dependent on their culture and ethnicity. French Cinema is typically artistic, and in some ways controversial. French Cinema is also the birthplace of the film theory Surrealism. In India, Bollywood is a popular form of original film. One of the biggest National Cinemas is The USAs Hollywood. Hollywood, American made movies are big budget, exported worldwide and are English language. Hollywood is known to be the Cinema Giant. In terms of national cinema, every countries unique independent film is competition with Hollywood. National Cinema and Hollywood do interlock in some circumstances. For example, Hollywood telling the historical story of a country would be a co production with that country. Hollywood would provide the budget, write the script and generally glamourize give the story a typical western feel such as involving a love theme within the text. The film will be a national film though, as it is made in the country and represents the nation and its people and brings economic benefits to the country. These co productions are beneficial to a country, especially a country which may be financially struggling as it gives the country a voice, raises its profile and generates awareness of the country globally a well as providing work and other financial benefits.However, within my research of National Cinema I noticed that non English speaking countries, in which English is not the native language, in particular non western countries National Cinema is more popular than Hollywood movies. 3

The language barrier could be one reason, but also these countries have large film making traditions and also export their films to ex patriots, members of their community and natives who are living outside of their country. This could also be for ethnic reasons with audiences identifying more with their own race than others.As previously mentioned, India for example, creates Bollywood film as one type of National Cinema. This will be exported and available to the millions

2 Willemen, Paul, Theorising National Cinema, 2007, P.363 Crofts, Stephen, Theorising National Cinema 2007, P.50



of Indian people globally who have deep rooted loyalty to their ethnic background. In 1988, a typical year, the Indian industry produced 773 films, 262 more than Hollywood in the US. That Indian features are produced in some 20 languages for local consumption protects the Indian films very ably from foreign competition. (Lent 1990: 230 1)As with India, in Hong Kong National Cinema outsells Hollywood 4 to 1 and also have their export to Asians across the world.

Some western, English speaking have tried to compete with Hollywood imitating, though come a poor second. British Cinema has tried to make movies with the same drama, excitement and wow factor as Hollywood, but in reality it doesn’t translate. Hollywood has the finance and American ness that makes a Hollywood film identifiable instantly. That is in effect, the USA national cinema.

‘British Cinema is in the invidious position of having to compete with an American cinema, which paradoxical as this may seem, is by now far more deeply rooted in British cultural life than is the native product’ (1985; 152)4

In summary to this section, native English speaking countries will always be seen to be imitating or in direct competition with Hollywood, and most surely will never over take Hollywood. Whereas National Cinema in non-speaking countries flourishes and booms in its own unique way, a way in which Hollywood could never compete.

Irish National Cinema

Irish National Cinema exists in two styles. The political and gritty realism of Northern Irish Cinema in past years have reflected Northern Irelands troubles and war. This is also the ‘imagining’ of Northern Ireland to the rest of the world. Northern Ireland cinema generally shows suburban life, reflecting issues and situations current in the country. Humour is also a strong theme within Northern Irish film in modern times making light of dark times using language and experiences the Northern Irish people will understand.Irish Cinema south of the border focus on the imagining of Ireland by the outside world with a romantic view of Ireland.

4 Theorising National Cinema, 2006, P.51



Since the Celtic Tiger Boom however, economic growth in the South and the peace process in the North have radically changed Irish Cinema from what it used to be. Irish Cinema used to heavily rely on Hollywood and the outside world to keep Cinema in some sort of production. Whereas since the 1990’s, Irish cinema has gained independence and power, giving North and South the opportunity to re-image Irish Cinema and perceptions of Ireland to the rest of the world.

Imaging Of Irish Cinema.

Early Irish cinema relied on Hollywood to introduce Ireland visually to the world. This was done with Hollywood financed films written in with Hollywood’s romantic notion of Ireland and Irishness. The Quiet Man (Director John Ford, 1952) was one of the first to do this. The storyline telling of an Irish American Boxer returning to his native Ireland, typical of the emigration of the time, set in Ireland using Irish cast and landscapes as well as the use of Gaelic language groups this as National Cinema, in a co production. Successful British Director David Lean continued the imagining of Ireland being dreamy and romantic with Ryan’s Daughter (1970) combining Irish scenic beauty with the love story and acknowledging the historical and colonial issue of British rule in Ireland.

Northern Irelands Cinema remained quiet during the years of political conflict and troubles, yet with the Celtic Tiger economic boom, filmmakers were given the opportunity to tell the stories of conflict and hardship of the past years. This may not of been the imagining that the Irish wanted the world to see, but more so than that it was crucial to the Irish nation to tell their stories. Politically charged true life films such as In The Name Of The Father (Dir. Jim Sheridan) and Bloody Sunday (Dir. Paul Greengrass), historical accounts such as Michael Collins (Neil Jordan), and fictionally re enacted Irish life in Angela’s Ashes, The Butcher Boy, all gave the world a view of current issues in Ireland and an expression of the realism in this country which was very different from Hollywood’s Ireland.



As well as co-productions emerging from popular stories, Irish Cinema was given more financial support as the Peace Process encouraged filmmakers from across the world to use Ireland as locations for filmmaking. This created work within the creative media industry for natives of Ireland, providing not only economic benefits but also invaluable work experience to emerging filmmakers, and also instilling confidence in the government to invest in training for emerging filmmakers.

In modern Irish Cinema filmmakers are now re-imagining Ireland once again, using film as their voice and eyes to the rest of the world. Irish Cinema is breaking stereotypes. Shaking off the troubled history and bleak times, independent film making in Ireland now focuses on humour and light entertainment with Northern Irelands Mrs. Browns Boys, as well as realism and modern Ireland telling stories of Irish life and people relatable to any other western country. Independent southern Irish films such as What Richard Did tell stories of the next generation of Ireland, showing the real youth of Ireland yet maintain elements of the old imagining of Ireland with signifiers such as Gaelic language and singing, country landscapes, pubs and priests. Modern day problems such as Drug addiction, crime and poverty and inner city life in Ireland are told in films such as Adam and Paul, albeit in a humourous way.

National Cinema Film Making

Within national cinema three types of cinema are identified, depending on the nature of the budget, production and theme. First cinema is known as Hollywood entertainment. This will be national cinema with the Hollywood Spin. Big budgets and mainstream, this is shown in films such as Ryan’s Daughter (directed by David Lean with a filmography of Hollywood blockbusters films such as Lawrence of Arabia, Bridge on The River Kwai). First cinema films will follow the dominant representation commonly associated with the country in question.



Second Cinema is more auteur, and can be defined as co-productions. These will be more independent to the national identity of the country, though rely on funding from other countries to produce the film. These films will use natives as work force and be more in touch with the realism of the country though still rely on the imaginings of global perception. They will be filmed and created in the country. British director Kirk Jones can see examples of second cinema in Ireland with ‘Waking Ned’ and Irish Director Jim Sheridans ‘In The Name Of The Father’ co-produced with Great Britain.

Third Cinema is the indigenous, independent low budget film made by directors and filmmakers largely unknown outside of their native country. These films will be creative and expressive and will be aimed towards raising political and cultural questions and thought from the audience rather than for entertainment. Often these films will be entered into Film Festivals. These films will often have a moral viewpoint and strong message for the audience and highlight social change issues. 5

5 Theorising National Cinema, National Cinema In Ireland, McLoone, Martin P.91



Kisses tells a story of poverty and youth in Dublin highlighting social issues . Good Vibrations is the independent biographical film of Belfast’ Terri Hooley, an influential character in the Northern Irish original music scene.

Irish National Cinema- Director profiles.

JIM SHERIDAN



Jim Sheridan, born in Dublin, moved to New York and made his first Irish film ‘My Left Foot’ telling the story Irish artist Christy Brown. This film was fictional based on fact, perfect for the Hollywood formula and for Jim Sheridan to express Irishness. This was his first film, which also saw him receiving Oscar nominations. His next big success came with political true story In The Name Of The Father, casting his lead from My Left Foot, Daniel Day-Lewis again as the lead. This brought 7 Oscar nominations. Sheridan continued with a run of National Cinema films focusing his directorial style on political Irish stories with Some Mothers Son and The Boxer. 6

NEIL JORDAN

6 http://www.imdb.com/name/nm0006487/bio?ref_=nm_ov_bio_sm



Neil Jordan, born in Sligo, started his directorial film career with Angel. This film told the tale of a musician in the times of The Troubles in Northern Ireland. He cast as his lead Irish actor Stephen Rea, who he has regularly cast in subsequent films, notably, The Crying Game. His debut with Angel instantly identifies this as National Cinema for many factors: Irish born director, Irish casting, filmed in Ireland, storyline of political issues relevant in Ireland.Further films that he directed swayed away from Irish National Cinema until he directed The Crying Game (1992) 7, another political Irish film.His biggest Irish Cinema co-productions came with Michael Collins (1996) a historical feature film of freedom from British rule in Ireland, and The Butcher Boy, a story of Irish childhood adapted from Irish novelist Pat McCabe.8

Summary.

7 http://www.imdb.com/title/tt0104036/8 http://www.neiljordan.com/Biography.htm



Within my study of National Cinemas, and in particular Irish National Cinema I discovered in my understanding that National Cinema can exist in two styles dependent on the audience. Films made within a country or by a country that are intended for a global or non-national audience and films that are made with the target audience being nationals of that country. This will impact how a film is made, the language, dialect and behavior of characters within the film, as each audience will have different interpretations and ways of reading the film text.I feel that the core theme of what makes a film belong to National Cinema is a film that represents the national identity of the film being made. That is, the theme, the intended message and the portrayal of culture and characters accurately reflect the people of the nation. Indigenous films made in a country will not be received in the same way as outside audiences, and Hollywood films made within a country as co-production may not represent real life as much as independent films however they both remain National Cinema but for different audiences and purposes. Small budget, indigenous films may not be as glamourous and technically flawless as Hollywood budgets but I think that they are more important for some reasons such as culturally and for representation purposes. On a global scale, I think National Cinema is important to observe and learn about other cultures in a realistic way. That is the importance of the indigenous films a country produces. However First and Second Cinemas are useful for showcasing and highlighting a country and its message on a large scale. In the case of Irish National Cinema, I feel it was taken under the wing of Hollywood in the early days of cinema when it wasn’t financially able to breakout itself, whereas now, Irish Cinema is making strong efforts to reimagine the global perception of Ireland, put the troubled days behind and show the world true Irishness and showcase the originality and talent of its creative industries.



Bibliography

Cook, Pam (1985) The Cinema Book

Crofts, Stephen (2000) The Concept Of National Cinema

Higson, Andrew (2000) The Concept Of National Cinema

Hill, John, (2006) Cinema and Northern Ireland

Vitali Valentina, Willeman, Paul (2006) Theorising National Cinema

Walsh, Michael (1996) National Cinema, National Imaginary

Web Sources:

Screen.oxfordjournals

http://www.imdb.com/name/nm0006487/bio?ref_=nm_ov_bio_sm

http://www.imdb.com/title/tt0104036/

http://www.neiljordan.com/Biography.htm


http://www.imdb.com/title/tt0104036/



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stacyfitzpatrick.weebly.com · Web viewUnit 11: Film Studies Wider Film Theoretical Models: An Understanding Introduction. Within this essay I will explore wider film readings and