Where Do Movies Come From - Essay Example

?Where Do Movies Come From? Even though movies are the most potent transmitters of national culture, only two countries in the world have self-sustaining movie industries: the US and India. Other countries must subsidize their film industry in order to sustain it. Without government and private support, most national film industries would die. Those countries where the most popular languages are spoken would probably manage to produce a few films, but only if they have commercial value to the group that has the disposable income and interest, mostly middle class, slightly affluent youth, young adults and seniors. Everyone benefits from a lively national film industry, from those who are involved in making the movies to those who watch and even society as a whole, since ideas are transmitted from films to viewers to people around them. One very clear indication of the importance of financial support is the case of Alberta, Canada. In 1973 Alberta created its own provincial film board to encourage Alberta film productions at the advice of the National Film Board. The other provinces immediately followed the success of this plan, so Canada had both a National and Provincial film funding in each province, and it was important, because Canada’s regions are all different. The ethnic and national heritage of different regions stems from different waves of immigration plus the added cultures of the First nations People. Despite its phenomenal success until 1996, Ralph Klein went on a cost cutting spree and cut out the funding in 1996. The Alberta film industry went from a very successful $150-million in 1995 to $50-million by 1997 (FRASER, 2011). 2/3s of the production moved to British Columbia. Even the Alberta and national governments lost money on this deal, since the Alberta industry had created more tax income then the cost of the funding. Once the funding dried up the talent followed the industry move to BC. “Film is capable of both painting and shaping society.”(Bellucci, 2010) It is a well researched conclusion that film that records aspects of any conflict feeds an “us vs them” perception and tends to become a symbol of culture and create an “ethos of conflict” (Benziman, 2013). This can have an interactively reciprocal effect on how the different factions perceive the conflict, and on the culture as a whole. "The conflict shapes national identity, while changes in national identity influence the course of the conflict." (Bar-Tal, Raviv, Raviv, and Dgani-Hirsh 2009; Bar-tal 2010) So movies that depict present or past conflicts change how they are viewed and how the participants feel about themselves and others. The conflict does not have to be armed, or even serious, but just its existence and the acknowledgement of the differences and the perceptions of one being superior effects the national attitudes. This changes the “National Narrative” of the countries involved, which, in turn changes future history. Because the EU was created to encourage fair trade without tariffs. Any state subsidy or tax benefits essentially breaks this rule. However, because of the perceived need for support of cultural activities in the member states, the European Union introduced the Maastricht Treaty. It allows member states to support independent films important to their cultures. The idea was to allow member states to support non-commercial film making as long as trade and economies were not directly affected. However, some problems developed when defining what kinds of films would qualify. France and the UK were the main dissenters. France considers all film to be cultural and necessary, so wants to support all film, even commercial productions. The creation of a definition of “difficult films” for beginning enterprises, whach are considered worthy of support, was not enough for them. The UK adopted a very detailed definition of a “difficult film” using the possibility of profit, the size of the target audience and the popularity of the subject matter as criteria. Basically, the idea was to allow support for commercially neutral thus producing a neutral incentive, such as films based upon local cultural content etc. The EU had ruled that any director’s first two films may be considered “difficult” and garner support, and it rules on cases as they present. In this way, over time, the EU will resolve the problems and national film support will be allowed in member states. Basically, film is an ongoing conversation among the world’s countries and it major artists. Film is so collaborative that it can never be done by only one person. There are writers, directors, actors, editors, producers and all the attendant services even with a film of the smallest budget. Everyone wants to leave his or her mark on the film, so each group seeks certain things in the film. It takes an amazing amount of cooperation to bring even a short film to market. If individual writers and musicians need government support, imagine how few films would actually be made without government support. Even the most dedicated artists have to eat. The Australian National Film and Sound Archives is providing educational materials to schools and organizations in the form of saved past films and information about them(Hogan, 2011). This will directly affect culture as it is used extensively in education (Cool & Others, 1994). Not only would most such films not be preserved, but in many cases they would never be made at all without government support. While many independent films have a certain amount of special effects, they do not have the budgets that commercial films provide. Some films are already filled with wonderful images, such as “Storm Soldiers” made by the Hubble Power Systems (Hubbell, 2013). But even using lower cost modern equipment, films are expensive to make. Independent film makers often are found deeply in debt, mortgaging their homes to finance their work. When profit becomes the motive, artistry becomes secondary or disappears altogether. Independent and cultural films often try to create awareness of a problem. The American film ‘Bully” is one such film aimed at raising awareness of bullying in schools, especially against disabled and mentally challenged children. This film is running into ratings problems, as it carries an “R” rating for language and graphic violence, which restricts viewers to 18 and older unless accompanied by parents. (http://www.mpaa.org/Resources/e2f7189e-7316-4f71-9583-50aa4def53e3.pdf ). Many groups are championing the lowering of this rating in order to make this important film available to a wider audience. It is thought that the showing of what actually happens in cases of bullying will translate into behavioural changes (Newswire, 2012). Other films are being made now by concerned groups trying to find solutions to their own pet problems, such as the Macmilan Cancer Support’s film aimed at the age discrimination in the UK’s National Health Service (NHS). Topics abound and with available support, film makers can find clients everywhere. Al Gore screened a hugely popular film, An Inconvenient Truth, in an effort to raise awareness of climate change, and many more have been produced as a result (Pooley, 2007). There is no longer much debate over the seriousness of the climate change problem, nor of man’s contribution to it. As a result we are making better progress toward a solution than we might have done. As the film admits that we do not know the future, many other films are exploring all the possibilities, and many solutions are now in progress as a result. In addition to the transmission and shaping of culture, some films are aiming even higher, as in the case of “Happy New Year”. The non-profit, Stop Soldier Suicide, asked Americans to attend screenings of this movie to help veterans with PTSD (Post Traumatic Stress Disorder) found to be a major cause of suicide among returning soldiers (Stop, 2013). This was to raise money to provide tangible help for these soldiers and their families. PTSD is a very real problem and there are other films important to spread awareness and help create awareness of this serious problem, but this is the first directly funding that needed change. With all the new tools available, many more people can try making films than could even a decade ago. Youtube abounds with hundreds of independent shorts made by unknown artists. Animated films are becoming more and more popular as an artistic medium and are gaining acceptance as an adult medium. More independent animated films are being made, partly due to the availability of sophisticated tools at much lower cost than previously (FILIPI, 2013). Another factor increasing production is the ability for people to collaborate over great distances via the Internet (Moltenbrey, 2008). Many people are pushing this envelope and well known actors and actresses are seeing these as an opportunity for voice-over work to increase their own popularity. It’s not your grandpa’s cartoons any more, but serious subjects are being explored. However, distribution is vital or they will simply die very quiet deaths. For Australia there has been past policy on the arts that has recently been upgraded to a $235 million national cultural policy (Govt unveils $235m national cultural policy.) The Creative Australia Advisory Panel established due to suggestions at the 2020 summit now boasts ten carefully chosen members, who will advise Arts Minister Peter Garrett. This is a good step toward revitalizing the Australian film industry, which will protect the culture, including the language and culture of aboriginals and Asians. Arts will be taught from at elementary level and major films will be funded. Art and creative services are growing as an industry at 4.5%, more than any other sector of the economy (Govt unveils $235m national cultural policy.). These new programs will employ thousands more people is satisfying jobs and help bring Australian cinema back to life. Small production and independent films are made by passionate people, not usually rich ones. Even though many win awards and go on to success, they are not perceived as commercial, so there is no industry support. Film is an artistic medium that transmits a great deal of cultural information, history and ideology, and even China is seeing it as a tool for international cooperation, understanding and diplomacy (See no evil.2012). Even for propaganda films in some countries money is short. Government support of independent film makers makes sense. Even in China the restrictions on content are much less as the government sees the cultural and political value of such support. History has shown that few independent films will be made without government support. Research shows that there is a great deal of value in these non-commercial works of art. They really need support and the culture of the country benefits. References Bar-Tal, Danial, Raviv, Amiram, Raviv, Alona and Dgani-Hirsh, Adi, "The Influence of the Ethos of Gonflict on Israeli Jews' Interpretation of Jewish-Palestinian Encountets," Journal of Conflict Resolution 53.1 (2009): 94—118. Bar-Tal, Danial, "Gulture of Gonfiict: Evolvement, institutionalization, and consequences," in Personality, Human Development, and Culture: International Perspectives on Psychological Science, Vol. 2, ed. Ralf Schwarzer and Peter Frensch (New York, 2010), 191. Bellucci, L. (2010). National support for film production in the EU: An analysis of the commission decision-making practice. European Law Journal, 16(2), 211-232. doi:10.1111/j.1468-0386.2009.00504.x Benziman, Y. (2013). "Mom, I'm home": Israeli lebanon-war films as inadvertent preservers of the national narrative. Israel Studies, 18(3), 112-132. Cool, V. A., & Others, A. (1994). Experimental effects of radio and television distractors on children's performance on mathematics and reading assignments. Journal of Experimental Education, 62(3), 181-94. FILIPI, D. (2013). Pixel perfect. Film Comment, 49(1), 43-44. FRASER, F. (2011). Quiet on the set. Alberta Views, 14(10), 41-44. Govt unveils $235m national cultural policy. PM (ABC), Hogan, D. (2011). An educational treasure house: The national film and sound archive. Agora, 46(4), 55-60. Hubbell, P. S. (2013). Hubbell power systems, inc. announces the release of its highly anticipated documentary, storm soldiers, in honor of national journeyman lineman day. Business Wire (English), Moltenbrey, K. (2008). Independent minded. Computer Graphics World, 31(12), 4-4. Newswire, P. (2012). Statement from james wendorf, executive director, national center for learning disabilities (NCLD) on R-rating assigned to the film "bully". PR Newswire US, Pooley, E. (2007). The last temptation of al gore. (cover story). Time International (South Pacific Edition), (20), 18-26. See no evil. (2012). New Statesman, 141(5128), 69-69. Stop, S. S. (2013). Nationwide film screening helps americans support veterans on veterans day nov 11, 2013. Business Wire (English),   Read More