• 主题
高级搜索  >
历史搜索 清空历史
首页> 外文学位 >French blockbusters: Globalization, national cinema and the discourses of 'cultural diversity'.
【24h】

French blockbusters: Globalization, national cinema and the discourses of 'cultural diversity'.

机译：法国大片：全球化，国家电影和“文化多样性”的论述。

获取原文
获取原文并翻译 | 示例
页面导航
  • 摘要
  • 著录项
  • 相似文献
  • 相关主题

摘要

The title of this dissertation---"French Blockbusters"---evokes the contradictory valences of a popular cinema often implicated in conflicts between the "global" and the "national." Over the past three decades, the French film industry has sought to revitalize its commercial practices to better compete for audiences at home and abroad. Yet likely because the French are best known for their aesthetic and economic resistance to North American hegemony, these strategies often get dismissed by critics as the "homogenized" products of global media capital. My research counters this view by situating the films as complex symptoms of a culture industry embracing the global market while seeking to carve a distinctive niche within it. Drawing on theories of globalization and national cinema, the first four chapters offer a recent history of big budget French filmmaking, not as a coherent push for "post-national" forms, but as a result of conflicting discourses on the "cultural diversity" of national production. Since Socialist reforms of the 1980s, there has been a growing disconnect between the government's protectionist film policies and the commercialism of France's expanding audiovisual sector. By the 1990s, television pre-sales and private investment groups had bypassed state-centric arteries for film subsidy, and the demand for crowd-pleasing entertainment accelerated as multiplexes went up across Europe. Exploring how these shifts register in trade press coverage, government policy reports, critical polemics and academic exegesis, I identify three preponderant stances on these issues, which I term "exceptionalist" (anchored in subsidized protection and independent artisanship), "professionalist" (turned toward free markets and multimedia flows) and "pragmatist" (a mediating tern that often leads to the constant tweaking of French cultural policy). The last three chapters consider how these internal tensions ripple to the surface of three films from 2001. Although they differ in style and generic affiliation, the nostalgic romance Amelie (Jean-Pierre Jeunet), the action-heritage hybrid Brotherhood of the Wolf (Christophe Gans), and the "coming out" farce The Closet (Francis Veber) each offer a sampling of how contemporary French cinema both stylistically internalizes---and provokes continual commentary on---the problem of promoting national identity through a globalized, popular idiom.
机译：本论文的标题-“法国大片”-唤起了通常与“全球”与“国家”之间的冲突有关的流行电影的矛盾价。在过去的三十年中，法国电影业一直在努力振兴其商业惯例，以更好地竞争国内外观众。然而，可能是因为法国人以其对北美霸权的审美和经济抵抗力而闻名，这些策略经常被批评家们视为全球媒体资本的“同质化”产品。我的研究通过将影片定位为文化产业拥抱全球市场，同时力求在其中刻画一个独特的细分市场的复杂现象来反驳这种观点。前四章借鉴全球化和国家电影的理论，提供了法国预算庞大的电影制作的最新历史，这不是对“后国家”形式的一致推动，而是由于对“文化多样性”的论述相互矛盾的结果。全国生产。自从1980年代的社会主义改革以来，政府的保护主义电影政策与法国不断扩大的视听领域的商业性之间的联系越来越不紧密。到1990年代，电视预售和私人投资集团已经绕开了以国家为中心的大动脉来获得电影补贴，随着全欧洲电影院的兴起，对令人愉悦的娱乐需求也加速了。探索这些变化如何在贸易新闻报道，政府政策报告，批判性辩论和学术诠释中体现出来，我确定了在这些问题上的三种主要立场，我分别称之为“例外主义者”（锚定在保护性保护和独立手工艺中），“专家意见”（转为走向自由市场和多媒体流）和“实用主义者”（通常导致法国文化政策不断调整的调解人）。前三章考虑了这些内部张力如何在2001年的三部电影中浮出水面。尽管它们在风格和一般从属关系上有所不同，但怀旧的浪漫史艾米丽（Jean-Pierre Jeunet），动作与遗产混合的狼兄弟会（克里斯托夫（Christophe） Gans）和“闹剧”闹剧The Closet（Francis Veber）都提供了一个样本，展示了当代法国电影如何在风格上内化-并引起人们不断的评论-通过全球化，流行的民族身份提升问题成语。

著录项

  • 作者

    Michael, Charles Allen.;

  • 作者单位

    The University of Wisconsin - Madison.;

  • 授予单位 The University of Wisconsin - Madison.;
  • 学科 Cinema.
  • 学位 Ph.D.
  • 年度 2010
  • 页码 384 p.
  • 总页数 384
  • 原文格式 PDF
  • 正文语种 eng
  • 中图分类
  • 关键词

相似文献

  • 外文文献
  • 中文文献
  • 专利
获取原文

客服邮箱：kefu@zhangqiaokeyan.com

京公网安备：11010802029741号 ICP备案号：京ICP备15016152号-6 六维联合信息科技 (北京) 有限公司©版权所有

  • 客服微信

  • 服务号