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ROH - Elektra. Sorry this performance is sold out, please check for other available performances. In this spirit, the editors have drawn together 21 essays on 18 different national cinemas, representative of posts shifts in contemporary national cinema studies. This book introduces us to a wide variety of national cinemas and revises national cinema theory.

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Willemen is interested in the relationship between the national and the international, and between identity and subjectivity in socio-cultural formations. Willemen makes some interesting points, however generally this article is exceedingly academic and, as such, the uninitiated will have difficulty deciphering his arguments. Crofts briefly outlines what he considers to be the key elements that constitute world cinema, from European-model art cinemas and totalitarian cinemas to national cinemas that attempt to imitate Hollywood.

Some of the essays in this section evoke abridged versions of the esteemed Routledge National Cinema Series , of which Susan Hayward is the general editor 3. Alongside consideration of the more canonical national cinemas, such as the Italian or French cinemas, we find discussion of new cinemas.

Table of contents

There are also a number of chapters in this section which present national cinema readings of specific directors and films. In each case, the authors defend the value of contemporary, innovative approaches to national cinema studies and perform revisions of previous cinema histories. Canadian cultural and film critics have long debated how Canadian national cinema can be defined, or whether there is a Canadian national cinema.

Most of the films shown on Canadian movie screens are US imports. If "Canadian national cinema" is defined as the films made in Canada, then the canon of Canadian cinema would have to include lightweight teen-oriented fare such as Meatballs , Porky's or Death Ship Other critics have defined Canadian national cinema as a " Scott MacKenzie argues that by the late s, if Canada did have a popular cinema with both avant-garde and experimental elements, that was influenced by European filmmakers such as Jean-Luc Godard and Wim Wenders.

MacKenzie argues that Canadian cinema has a " France's national cinema includes both popular cinema and "avant-garde" films.

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French national cinema is associated with the auteur filmmakers and with a variety of specific movements. During the German Weimar Republic , German national cinema was influenced by silent and sound "Bergfilm" this translates to "mountain film". During the s and early s, German national cinema was known for the progressive and artistic approaches to filmmaking with "shifted conventional cinematic vocabulary" and which gave actresses a much larger range of character-types.

UFA produced "Hetzfilme" anti-Semitic hate films and films which emphasized the "theme of heroic death. Film historians and film scholars do not agree whether the films from the different parts of Cold War-era Germany can be considered to be a single "German national cinema.

East German films were often Soviet -funded "socially critical" films. While these directors made films with "many ideological and cinematic messages", they all shared the common element of providing an "aesthetic alternativ e to Hollywood " films and "a break with the cultural and political traditions associated with the Third Reich " According to film scholar Marek Haltof, the Polish School of directors made films which can be described as the "Cinema of Distrust.

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However, even though Western countries became increasingly interested in Polish cinema during this period, the country's film infrastructure and market was disintegrating. Although it is difficult to determine and define a 'national cinema', much of what many consider Mexican national cinema, but not limited to, is Golden Age of Mexican Cinema and films that revolve around the Mexican Revolution.

Unique trajectories of Mexican cinema's development shaped historically specific understandings of the ontology of the moving image, leading to unique configurations of documentation and fictionalization. The Revolution spilled across pages of the press, and became the primary subject of Mexican films produced between and

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