Discuss the aesthetic as well as economic characteristics of the ‘Film Europe” movement, referring to a filmic case study of your choice Introduction The Great American Hegemony has retained its economic autocracy for more than a century…
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Nations felt an urge to create long term bilateral relations with this humungous political blitzkrieg. There after gradually & quite naturally, the ‘American influence’ begun to overflow in diverse domains. It slowly initiated to engulf spectrums such as art, theatre, culture, music, films. The next step was to classify those apparently ‘non political’ artistic components at par with the lines of the grand old American maneuver. This cultural autocracy created a stir amongst the enlightened & elitist in Europe. Film corporations like the Metro Goldwyn Mayer had already infiltrated the economies of third world nations like India by 1920 (Thomas, 1987, pp.1-2). While American film corporations’ encashed rich dividends from colonial markets, the European heavy weights were coerced to remain at a bay. This naturally sprouted a furor across the cultural horizon. The European mavericks & thespians felt that a cultural reincarnation was long overdue. German filmmakers like Dupont, Eichberg & Bolvary, plunged into the galaxy of filmdom, with the aim to break the American jinx (Thomas, 1987, pp.1-2). Their unbridled apathy against US monopoly led them to the shores of Britain, from where they churned out numerous path breaking films. This unique film movement came to be known as the ‘Film Europe Movement’, & gained massive popularity throughout the European peninsula. The noble ideals of combating capitalist aggression with socialist principles augured magically with the masses. ‘Film Europe’ managed to successfully batter up American aggression, intertwined with egalitarian theologies. The concluding research deals with the FILM EUROPE MOVEMENT with E.A. DuPont’s English film ‘Piccadilly’ juxtaposing the centre stage. The Birth of the ‘Film Europe Movement’ The culmination of the First World War had precisely ravaged up the economies of France & Italy. They were in no position to stifle or even stand a chance against the ever expanding ‘American menace’. The calculating American theorists embarked on their global economic conquest, & by 1917, had South America, Australia, Asia Minor & vast territories of Africa amidst their grasp. The birth of the ‘Film Europe Movement’ was hence not just a united cultural Endeavour, but a collaborated strategy of economic survival. These Siamese goals gave birth to quintessential cinematic forms, the German ‘expressionism’, the French ‘impressionism’ & the Soviet schooling of ‘montage’. Interestingly, as time stroked away, films began to emerge which contained a profuse blend of two or more cinematic schooling. For example, Marcel L’Herbier’s French saga, ‘Don Juan et Faust’ borrowed extensive German expressionism throughout its making, while Karl Grune’s 1923 German biopic ‘Die Strasse’, successfully utilized French impressionism in its narration (Thomas, 1987, pp.2-5). Later of course, hoards of films were created blending two or more cinematic ideologies. This pan European cinematic outburst not only created an upheaval in the European domain, but also proved to be cinematically superior to its American counterparts. The unique ideas, bold subjects, & timeless concepts gave birth to films that would change the course of history itself. Geniuses like Sergei Eisenstein, Vsevold Pudovkin & Lev Kuleshov made films which enthralled film voyeurs throughout the planet. Films began to be created with an international appeal. This continental outlook started to
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