European Film and Cultural Marginalization - Case Study Example

The Development of Pan – European Film and Cultural Marginalization Introduction The concept of pan – European cinema is one that is based on the cultural and social influences that began to take place in modern Europe. More importantly than being a space to express popular ideas and culture, pan – European films were able to provide a basis that moved against the popular concepts that were accepted through Hollywood and other means. The result of this was that there were different movements that defined what it was to move against the popularity of the international film. The branch of movies that pan – European films made was one that was able to influence the economic, stylistic and thematic terms of film. The concepts that were associated with pan – European films created an alternative culture that identified the margins of culture, as opposed to the mainstream that was often accepted in contemporary movies. Defining Pan – European Films The concept of pan – European films began to become significant after the 1950s and 1960s with the emergence of Hollywood. As the styles and themes of Hollywood began to reach popular culture, those in Europe also began to change the approach to film. While looking at the movies of Hollywood, there was a movement that was defined which rejected the American culture in movies. The pan – European movement was one that went in the opposite direction of creativity and inspiration as Hollywood, specifically to create a European style film. The particular movement began with the French New Wave in the 1950s and 1960s and was known to adapt to specific influences that were a part of the films in cinema. “Here European cinema adopts a mode of film practice that rejects dialogue with Hollywood, favouring instead filmic models, which appear to be embedded in European culture and untouched by American cultural influence.1” The rejection of influence from popular culture, as well as the influences of American Hollywood was then able to define the pan – European film and the way that it was associated with the culture of Europe. The concept of moving into the culture of Europe to produce films was not the only definition that was associated with Europe and the functions that it had for film. The establishment of culture in pan – Europe also led to the understanding of borders and the concept of Europe as the cultural affiliation that was associated with this particular arena. The pan – European film focused not only on the concepts of culture, but also was affiliated with creating movies that were nationalistic in nature. Because there was a movement against the identity of American culture and Hollywood, it also led to a deeply rooted set of cultural aspects that were nationalistic in nature. The identity of pan - European film was one that was produced with geographical identity first. The particular focus of geography then led into affiliations with conceptual space and methodologies that were reflective of the culture of Europe. Instead of affiliating with other regions, territories and culture, pan – European film focused only on the attributes that were integrated into the culture of the country. Even though many looked at the films as experimental in nature, the foundation always included the nationalistic identity, as well as regionalized contributions that were a part of the European culture2. Economics in Pan – European Films The concept of culture and the focus of pan – European films not only led into a separation and marginalization of the European culture in movies. More importantly, were economic alterations that began to be affected through the development of pan – European films. Since the pan – European films were based on regional and national culture, as well as the focus of moving against the Hollywood movies, it created a change in the economy of movies. Unlike other types of films, pan – European focuses were based on the cultural, national and marginalized identities. Since the movement was against the popular culture of Hollywood, there was also a difference in the artistic works. Rather than reaching toward a popular audience, the reach was toward the marginalized regions that accepted the culture of Europe. The limitations that this led to in the economics of pan – European films also created a focus on artistic works and creativity in the production that was used for each of the films3. Not only were their differences in funding because of the exclusivity and the marginalization of culture with pan – European films. More importantly, was a difference in the films based on the international growth into the movie industry. During the 1960s, the emergence of film led into international productions and popularity that crossed over borders. For the Hollywood industry, this led to specific opportunities in creating mainstream films. However, this also created a specific demand to reach popular culture in a specific manner. The pan – European films did not have the same economic advantages of moving into an international base. However, this attitude led to several problems with film. By 1992, the pan – European cinema had fallen apart and very few funds were available. The concept of culture and the marginalization that was represented was forced to move toward a popular level because of the economy. Before this time, pan – European film was funded by public sectors, instead of in the private arena. However, when the funds were not available privately, Europe was forced to change the market for the economic needs that were a part of film. “The growing disjuncture between a successful private - sector economy and the failing status apparatus showed that the expropriation of public funds had gone as far as it could go before the whole system fell apart. In addition, moving toward greater European cooperation, and especially in the promise of the single market in 1992, had produced a desire to become more European, in terms of both economics and culture.4” The complications of economy, as seen through this, were a result of the idea of pan – European film and the concept of moving into a specific culture. The movies that were created represented the market either from the private or public sector, both which altered the cultural viewpoint and the production of the films. Stylistic Significance of Pan – European Films Another aspect that was shaped by the culture and the association with marginalization of Europe was through the style that was created. The origins that are created with this are specific to the concepts of Europe and the continuing problems of each age. The focus in each is based on political agendas, changes in the culture and marginalized viewpoints of what was occurring at the time. Each of these were able to provide subtle messages to move the European viewpoint into a different identity and to question the concepts that were a part of the film. For instance, in the 1980s film, Fanny and Alexander, there is a focus on the identity of Europe from a political viewpoint. The main concept that is associated with this movie is based on the military strategies and political identity that was a part of Europe in the 1980s. However, the director combined the realities of politics in contemporary Britain with an artistic viewpoint that represented an opposing side to the identity of the military and political history of Europe. The contradiction was able to create a marginalized viewpoint of what was occurring politically in Europe, as well as provided a question to the British stereotypes and identities that were shaping the culture5. The concept of pan – Europe and the juxtapositions it created with reality and fantasy has led into other stylistic terms that are a part of the film. At one side of this film is an artistic expression that is able to create a combined show. For instance, elaborated camera movements, long shots of different pictures, staged takes, choreography and documentary techniques are often used in each of the artistic formations. When looking at this from a realistic view, the camera movements would have long shots of pictures that were documented without artistic expression. However, the artistic nature changed the style into the camera movements, such as angle shots and surreal incorporation of different focuses and expressions. The combination of realism and artistic expression through the styles was then able to create a different approach to how the film was looked into. The combination of features combined with the marginalized opinions, seen through the artistic viewpoint, as well as the realism of each of the films, which was seen in the documented analysis of what was occurring6. There are several stylistic expressions that can be traced with pan – European film and the expressions that held these two ideals. For instance, in the films of Angelopoulos, there are specific expressions that combine the use of light and the depth of cameras to create an artistic and realistic expression at the same time. Movies such as Voyage to Cythera and The Beekeeper used the specific representation of two opposing viewpoints from artistic and realistic expressions. The films were known for several long shots that passed through a series of images at a rapid rate, similar to a documentary. The techniques used also included off screen shots and temps morts, both which worked in the film like a collage to show the different sides of expression. The aesthetic style that was used was able to produce a different effect that held both sides and viewpoints. At the same time, there was the ability to show the marginalized ideas of both reality and fantasy by working with these expressions7. Themes Used in Pan European Films The concept of marginalization was not only important with the artistic and realistic styles that were used. More importantly, were specific themes that were incorporated to show the artistic and realistic nature of the pan – European films. The themes were able to represent a different side of Europe, in which regionalization and nationalization were at the forefront of the films. More importantly, the movies were able to show the cultural significance of Europe and the realities that were incorporated into this. The cultural, political and debated themes that are a part of each time frame in Europe were then able to create a specific association with the movie and the marginalized cultures in Europe. The themes that were used were defined nationalistically to create a questioning about the current conditions of Europe. The Cold War, emergence from World War II and the cultural and political battles that were a part of the time frame all contributed to the changes that were a part of society. For most, this led to a realistic viewpoint that was not heard by many as a response to what was occurring. While there were divisions between the French, German and British productions, all of the viewpoints were able to create a nationalistic understanding of the current issues. Often, these were used as the viewpoints that were not popular and which would create a sense of controversy within the community. “The adventurous films were seen as eschewing the social and political reality of contemporary Europe, creating a temporally and spatially disjointed, and purely generic fictional universe. Moreover, the fact that several of the film cycles unquestioningly replicated the often colonialist and imperialist perspectives of their original sources, or alternatively mapped these perspectives on to the rhetoric of the Cold War.8” The themes that were used were then able to create an alternative question and marginalization of the current problems at a national level. As this was done, the audience could respond with a questioning of the cultural and political values and would have a deeper sense of value to the information that was a part of the films. To show the regional, national and political viewpoints, as well as the marginalized viewpoints of Europe, there was also the need to incorporate other themes into the films. The documentary style that was used with the films also incorporated a level of knowledge about Europe and the cultures that were a part of each time frame. Most specifically, the thematic material would move into ancient and modern history as a part of the film. In each genre, there was a sense of understanding the shaping of Europe through the specific events that occurred as well as the progressions that were made. More importantly, were themes that incorporated the history with cultural aspects that were a part of each of the films. Doing this was able to create a legion amongst Europe and was able to provide a deeper understanding of what was occurring in each region. The development of pan – European film was then able to incorporate events, culture, social status, economics and the development of the nation through the films as a main theme. The combination of this with basic character development and personalized stories was able to create a more significant contribution to the film9. Conclusion The concepts of pan – European film have shaped the cultural and social aspects of the nation. Marginalizing the themes of Europe outside of Hollywood and international film has led to both an artistic and realistic viewpoint by producers. The different themes that have become a part of this are related to the social, cultural and political aspects of the nation. As this particular type of film has developed, there is also an understanding of the development of Europe and the associations with the nationalistic view over time. The emergence of this film has been shaped through aspects such as style, theme and economics, all which have created significant contributions to the development of movies from a national and international level. Bibliography Betz, M. “The Name Above the (Sub) Title: Internationalism, Coproduction and Polygot European Art Cinema. Camera Obscura (16), (146). Bordwell, David. Figures Traced in Light: On Cinematic Staging. [University of California Press]: California, 2005. Everett, Wendy. European Identity in Cinema. [Intellect Books]: Oregon, 2005. Fowler, Catherine. The European Cinema Reader. [Routlege]: New York, 2002. Galt, Rosalind. The New European Cinema: Redrawing the Map. [Columbia University Press]: New York, 2006. Higson, Andrew, Richard Maltby. ‘Film Europe’ and ‘Film America’: Cinema, Commerce and Cultural Exchange. [University of Exter Press]: London, 1999. Hjort, Mette, Scott MacKenzie. Cinema and Nation. [Routlege]: New York, 2000. Iordanova, Dina. Cinema of the Other Europe: the Industry and Artistry of East Central Europe. [Wallflower Press]: London, 2003. Wayne, Mike. The Politics of Contemporary European Cinema: Histories, Borders, Diasporas. [Intellect Books]: Oregon, 2002. Read More