《留学生Essay写作—欧洲电影运动》由会员分享，可在线阅读，更多相关《留学生Essay写作—欧洲电影运动（4页珍藏版）》请在金锄头文库上搜索。
1、http:/ 留学生论文专业定制代写网站留学生Essay写作欧洲电影运动European film movements are most clearly understood as part of the cinema of periphery in relation to popular Hollywood productions.In consideration of examples from one European country,to what extent is this an accurate view?This essay will focus on some of the
2、key movements in British cinema,looking at how they relate to the world of Hollywood.Firstly,I shall look at how British films have found their way into the American and world markets via the London-based company Working Title Films,and to what extent these films are integrated into the Hollywood sc
3、ene.Secondly,There will be an assessment of the tradition of social realism in British cinema,including the New Wave and Brit Grit movements,and their place in international cinema.Next,I shall look at the documentary movement in British cinema,and its impact on the wider world.One of the most notic
4、eable movements in British cinema in recent years has been the proliferation of the Working Title Films Company.Founded in London by Tim Bevan and Eric Fellner,Working Title has enhanced the profile of British cinema to an unprecedented extent.The screening of Four Weddings and a Funeral in 1994 pro
5、ved a turning point in the history of British film,proving vastly popular with American audiences,and subsequent productions from Working Title have helped to cement the place of the British Blockbuster in Hollywood.In this way,British cinema has been able to produce films with international mass ap
6、peal,and it is probably fair to say that there are more mainstream British films on at the cinema now than there were fifteen years ago.However,it is important to consider that,although there has been an increase in the commercial success of British film,it is still arguably seen as a satellite of H
7、ollywood.For instance,even successful British films are often labelled as art cinema.In an article on Shekhar Kapurs Elizabeth,Julian Hill argues that,Although it does offer entertainment through a fascinating narrative,the film as a whole is presented in a creative way,owing to the amateurish visio
8、n of Kapur.(Hill,2000)Indeed,its relationship to Hollywood is entirely coloured by its status as an art film,and by implication,its partly British origins.Bordwell and Thompson argue that any British film of this type would be viewed as art cinema in Hollywood,as art cinema is a term,used by the US
9、film industry to describe imported films of interest the upper-middle class,educated audiences.(Bordwell and Thompson,1990)In this respect,British film is still marginalized in relation to Hollywood.Commercial success has been forthcoming,but the very fact that a film is British in origin leads it t
10、o be viewed in different terms to those in which a Hollywood movie is viewed.Even the big blockbusters of the Four Weddings ilk are viewed at least partly as foreign curiosities,and crucially they often try to appeal directly to an American audience,for example,containing a token American character.
11、One area in which British cinema has perhaps demonstrated greater independence from Hollywood is in the field of so-called social realism films.There have been many movements over the different eras which fall into this category,from the New Wave cinema of the 1950s and60s,such as Room at the Top(19
12、58),to the what have been called Brit Grit films,like Nil by Mouth(1997),and this recurring idea of kitchen sink realism forms an important part of the British cinema tradition.Indeed,it has been suggested that all of these movements are a tradition in themselves(Thorpe,1999,cited in Lay,2002)It is
13、in this area that,for many critics,the real essence of British cinema is found.It has been argued that the aesthetics of British realism are defined in terms of opposition to Hollywood spectacle.Visual and acting styles were to be restrained,the emphasis was to be on ordinary people in ordinary sett
14、ings.(Cook,1996)In this respect,British cinemais not always a mere satellite of Hollywood,as it also tries to be deliberately antagonistic towards Hollywood ideals.Unlike many of the Working Title films,with their quasi-American leanings and their use of a highly stylised Britishness,some social rea
15、lism has sought to challenge this position.For example,in Trainspotting the audience is introduced to a much darker vision of Britain,and one less obviously palatable to Hollywood audiences,than that which is seen in Four Weddings and a Funeral.At first glance,one could argue that much British reali
16、sm is so idiosyncratic as to be marginalized in the wider world,but films like Trainspotting and The Full Monty show that it is possible to make a film depicting ordinary British life that has mass appeal.However,although this form of cinema apparently demonstrates an indifference to Hollywood conventions,as cook notes above,it is actually not indifference but a form of rebellion.In this sense,British social realism as a part
