Reflections on Faith and Film in Hail,Caesar!

While Hail, Caesar! written, directed, and produced by Ethan and Joel Coen initially appears to be merely a light satire of classic Hollywood of the 40s and 50s, it also comments upon several kinds of faith, religious and otherwise. Most obviously, the film humorously critiques the Bible-blockbuster films of the era, as being fairly insincere, manipulative, and too conveniently reconciling of secular, Christian, and Jewish perspectives. But careful examination reveals that four different kinds of faith are dealt with in the film: 1) Christian faith, 2) communist faith, 3) faith in Hollywood, and 4) Jewish faith. The second of these is mercilessly mocked, but the first and third are dealt with more sympathetically. The Bible-blockbuster film, as well as the efforts of the studio fixer Eddie Mannix to cover-over scandas in the lives of not a few of the actors and directors, are both efforts to support a the 1950s cultural consensus. That consensus involves a good deal of hypocrisy, but the Coens present the best case they can for understanding those like Mannix who seek to maintain it, even if they show why it ultimately cannot be. Most interestingly, while the film does little to examine Jewish faith itself, it uses the classic Jewish prohibition of graven images to criticize both Christianity and the basic activity of Hollywood. The film illustrates why the 50s cultural consensus could not hold, and raises troubling questions about the long-term impact of cinema itself.     

Cultural globalization and the dominance of the American film industry: cultural policies,national film industries,and transnational film

The global film market is a strategic site for examining the global influence of American media culture. Using a database compiled by the European Audiovisual Observatory, I show that the global film market consists of 34 countries that produce over 25 films per year. Thirty-two countries produce less than 26 films. The countries that produce over 25 films per year were categorized as Super Producers (four countries), Major Producers (seven countries), Medium Producers (11 countries), and Minor Producers (12 countries). Lists of top 10 films in these countries show that US films dominate, followed by local films. A discussion of national cultural policies shows that film policy contributes to the success of national film industries but does not enable them to challenge US dominance. Hollywood’s need for global box office receipts has led to changes in the content of Hollywood film toward deculturized, transnational films, a trend that is also evident in other countries.     

“Operation Exodus”: Israeli government involvement in the production of Otto Preminger's Film Exodus (1960)

This article explores the Israeli government's enthusiastic and substantial role in the production of Otto Preminger's Exodus (1960), the influential pro-Zionist film on the creation of Israel which was loosely based on the highly successful novel by Leon Uris. This involvement followed a decade of mostly unsuccessful Israeli government endeavors to encourage its many supporters in Hollywood to produce films in and about Israel: both for their potential economic rewards and for international propaganda. Utilizing archival sources in the United States, Britain, and especially Israel, this article charts Israeli efforts to encourage Hollywood productions in the 1950s and the extent to which Israeli officials provided encouragement and assistance to Exodus: first to the novel and then critically to the film. The article shows that the film producers took into account British and Arab observations too. However, the degree to which Exodus served Israeli propaganda themes is finally demonstrated by the eager efforts made by Zionist bodies and Israeli government officials to promote its international distribution.     

Transnational blackface,neo-minstrelsy and the ‘French Eddie Murphy’ in Intouchables

The 2011 French film Intouchables is an interracial buddy film about a black caregiver from the suburbs and a quadriplegic white aristocrat. Éric Tolédano and Olivier Nakache’s film broke box office records in France and abroad, becoming the second highest grossing French film of all time in domestic release and the most successful non-English film on the export market. However, the film’s critical reception was mixed; some celebrated the film’s social conscience while others denounced its racism. In this article, the author analyses the film’s treatment of race, specifically the ways in which Tolédano and Nakache draw on tropes of American blackface, neo-minstrelsy and 1980s Hollywood interracial buddy comedies starring Eddie Murphy to visualise racial inequality and discrimination in contemporary France. The author tracks the ways in which these American tropes align and do not align with representations of cultural diversity and the banlieues in France, and he ultimately argues that the film’s financial success and ambivalent reception track with the contradictory politics of American tropes for representing blackness.     

Autistic culture online: virtual communication and cultural expression on the spectrum

In this article, I examine cultural narratives about the lives and places of women with mental illness in the commercial Hollywood film: Girl Interrupted (1999). In contrast to most of the disability studies literature concerned with cultural representation, this article explicitly examines how the spatiality of ‘mad women's’ lives is constructed through film. Drawing on post-structuralist, and feminist perspectives on disability, and on conceptual ideas from the limited social geographic literature concerned with the lives of persons with mental illness, I explore the contradictory cultural narratives about the lives and places of women with mental illness constructed through this film. This approach recognizes that representations of ‘mad women’ and their places in society and space involve contradictory, tension-laden relationships between spectator and cultural product, complex discursive negotiations of meaning, and gendered processes of meaning-making, in some ways affirming mad women's lives and in others perpetuating negative stereotypes about women with mental illness and where they belong.     

What Accounts for the Resilience and Vulnerability of Clusters? The Case of Istanbul's Film Industry

In this paper, the film cluster in Turkey's cultural capital, Istanbul, is examined with the ultimate purpose of contributing towards a better understanding of the dynamics shaping the resilience and vulnerability of clusters. The paper seeks to shed light on the issue of how and why, in the face of a similar set of threats, Hollywood has proved so resilient but Istanbul's film cluster so vulnerable. Scrutinizing the emergence and the subsequent lock-in of the particular path followed by the Istanbul cluster and investigating the attributes of the proximate business environment that have been shaped along the way reveal that sustainability of a cluster seems to depend on three interrelated factors: how the cluster participants strategically respond to the upcoming threats, the structural capacity of the cluster to overcome such threats, and finally, the macro-socio-economic conditions (both at the national and global levels) against which the challenges occur and which mitigate or exacerbate them.     

Soft power,global governance of cultural industries and rising powers: the case of China

This article addresses the importance of cultural industries for the strengthening of the soft power of the rising powers and it seeks to understand how the cultural industries allow rising powers to shape the structures of their international environment. More specifically, studying the cases of People’s Republic of China and of the movie industry, my article focuses on the current evolution of the relationship between the Chinese authorities and the film industry, as well as on the development of the domestic film market. I further aim to draw up an inventory of China’s role within the global governance of cultural industries. Finally, I aim to highlight the global cultural competition that China faces, emphasizing the practices of the US administration and Hollywood. I argue that even if China is the current centre of gravity within the world economy, it still has a long way to go in order to shape the distribution of resources within the global governance of cultural industries and to play a crucial role in the international battle of cultural symbols.     

Vanished Circumstance: Titanic,heritage, and film

James Cameron's 1997 Hollywood blockbuster Titanic broke box-office records. This article argues that one explanation of this success was that Titanic is a heritage film which held a powerful attraction to audiences steeped in a contemporary heritage culture. Sections of the public are attracted to heritage and crave its illusory evocation of a retrievable and meaningful past. Titanic embodies this and several other heritage traits: the idea of the 'time capsule'; a cult of authenticity; presentism; a time-tunnel syndrome; and the film's picturesque and sublime aesthetic, all of which combine in an explicit articulation of a heritage ethos.     

Arrival: Anthropology in Hollywood

The recent Hollywood science fiction film Arrival features as its main character a linguist who explicitly references the Sapir‐Whorf hypothesis and linguistic relativism. Unusually for a mainstream film, Arrival presents the insights of linguistic anthropology as a key to the human‐alien encounter and combines these concerns with other key anthropological insights, particularly in relation to notions of time and the embodied nature of writing/drawing. In this article, the author argues that the film can be useful in thinking about anthropological debates on ‘strong’ and ‘weak’ versions of Sapir‐Whorf and suggests that a careful parsing of the anthropological concepts drawn on in the film provides food for thought about the possible usefulness of popular fictional concoctions for thinking through contemporary issues in anthropology and conveying them to a wider audience.     

White western teenage girls and urban space: Challenging Hollywood's representations

This article explores fictional cinematic representations of the world of white female adolescents in the USA. It argues that Hollywood has disseminated an oversimplified image of teenage girlhood that reinforces the notion that girls participate only peripherally in the daily life of exterior urban spaces. An analysis of nine Hollywood teen movies, from the 1980s and the 1990s, reveals a limited palette of spaces appropriated by predominantly white middle-class American adolescent girls. The analysis, within the broad categories of retreat space, liminal space, and interaction space, suggests alternatives for understanding how adolescent girls use urban space.     

Living with Hollywood: British film policy and the definition of ‘nationality’

Focusing upon how a ‘national’ film has been historically defined in Britain, this article traces the history of legal definitions of a ‘British’ film and identifies some of the issues around nationality that these have raised. The article begins with a discussion of the introduction of quotas for ‘British’ films in the 1920s and the adoption of the Eady levy as a means of providing production finance to ‘British’ films in the post-war period. It then goes on to examine the introduction, in response to EU regulations governing the film industry, of a ‘Cultural Test’ for ‘British film’ in 2007 and to consider the way in which eligibility for tax reliefs has depended upon a film qualifying as ‘British’. In assessing whether the Cultural Test may be regarded as constituting a ‘break’ in British film policy in terms of a shift from economic to cultural objectives, the article not only indicates the manner in which cultural and economic objectives have been brought into alignment but also identifies how the definition of the ‘national’ for the purposes of tax relief has been designed to encourage ‘transnational’ Hollywood production within the UK. In doing so, the article also indicates how ‘national’ discourses and practices have continued to inform and structure the economic and cultural dynamics of contemporary ‘British’ cinema as well as engaging with, rather than necessarily standing in opposition to, ‘transnational’ and globalising trends.     

Vicarious passions: the private life of Hollywood stars in 1950s Portuguese magazines

ABSTRACT

Life in Hollywood in the 1950s seemed completely at odds with the moral foundations of authoritarian Portugal. By looking at the coverage of the lives of Hollywood stars in Portuguese magazines, however, it is possible to imagine how a conservative society could be exposed to changing values. Readers became acquainted with the period’s most famous cases of divorce. Divorce was at first seen as unacceptable, but the continuous news on the lives of famous people produced a strange impact on the Portuguese public sphere: the end of marriage became familiar and even acceptable in some circumstances. The article disentangles this paradox, by treating magazines as a mediated social actor. The foreign origin of the news may have led readers to assume that divorce was a distant phenomenon. Simultaneously, the social circulation of magazines permeated the everyday with subversive ideas. Magazines thus constitute a decisive source for exploring how North American cultural forms work through the fabric of foreign societies. Imagining the impact of Hollywood in Portugal through the mediation of magazines allows us to identify forms of social change evolving in an apparently uneventful decade, and to grasp the contribution of feelings and attitudes in historical transformation.     

Hollywood,the MPAA,and the formation of anti-piracy policy

Combating piracy is fundamental to the policy ‘priorities’ of the Motion Picture Association of America, the trade association representing the major Hollywood entertainment corporations. As the MPAA implements a multitude of actions to fight piracy, it is impossible to locate the formation of the Association’s anti-piracy policy in any single source. Instead, this article sees MPAA anti-piracy policy as formed across three fronts: the legal, through anti-piracy litigation; the political, by the MPAA joining with other trade groups from across the copyright industries to lobby for stronger domestic copyright laws and influence US trade policy; and the discursive, seen in the production of statistics to evidence the value of copyright to the US economy and consequent harms caused by piracy. Examining these actions confirms the cultural and economic influence of MPAA policy but the article is also concerned with how Hollywood’s anti-piracy efforts are challenged and contested from various directions.     

Crusading in Africa: Religion,Race, and Post-9/11 Intervention in Antoine Fuqua’s Tears of the Sun (2003)

Abstract

African American director Antoine Fuqua’s Tears of the Sun, a 2003 war ?lm made with US Navy cooperation, imagines the intervention of Navy SEALs in an ethnic cleansing being conducted against Christians by Nigerian Muslims. It is at once an exercise in black diasporic consciousness and an expression of American exceptionalism. The director aimed to raise awareness of contemporary African crises, but the picture is also the closest Hollywood combat cinema came in the immediate post-9/11 years to addressing and endorsing the polarizing discourse and militarism of the Bush administration. The ?lm’s use of reductive religious imagery, its weak box of?ce return, and its generally hostile reception overseas expose its failure as a tool of diplomacy and reveal the waning ability of triumphalist Hollywood cinema to de?ne or explain the ‘War on Terror’.     

De Gilles Groulx à Jean-Marc Vallée: Transnationalisme,Américanité et Territoire dans le Cinéma Québécois

As a recent phenomenon which strongly resonates with a transnationalism that can be understood as a desire to transcend both physical and cultural borders, the exile of Québécois filmmakers to Hollywood raises issues surrounding the notions of identity and territory that are relevant to Québec politics and cinema. This vast migration of successful filmmakers who are invading Hollywood with their Québécois imprint allows us to revisit the notions of Americanness (américanité) and territory, at a time where globalization and cultural diversification are blooming. In order to better explore those issues, we will retrace the evolution of the notion of Americanness in Québec films produced at various periods of time. Likewise, the study of the more recent works of Québécois director/auteur Jean-Marc Vallée will allow us to discover the director’s diversified representations of contemporary American dreams and landscapes.     

Global Hollywood and the Politics of Nationality

Book reviewed:
John Trumpbour. Selling Hollywood to the World: U.S. and European Struggles for Mastery of the Global Film Industry , 1920 – 1950.     

Film and audience: The falling tree problem

Fowles, Jib. Starstruck: Celebrity Performers and the American Public. Washington, D.C.: Smithsonian Institution Press, 1992. xiv + 284 pp. including 57 photographs, appendix, notes/bibliography and subject index, $21.95 cloth.

Traube, Elizabeth G. Dreaming Identities: Class, Gender, and Generation in 1980s Hollywood Movies. Boulder, Co: Westview Press, 1992. xi + 207 pp. including notes, bibliography, and index. $49.95 cloth, $15.95 paper.     

Domesticating the Frontier: Gender,Empire and Adventure Landscapes in British Cinema, 1945–59

Before 1945, films of the empire genre, produced in Hollywood as well as Britain, celebrated the masculinity of the British adventure hero, and promoted an imperial world view. This article explores the significance of the incorporation of white women into empire films in the late 1940s and 1950s, focusing on three films from different moments in the period. What are the range of meanings assigned to white femininity in these films, and their significance to the politics of race and gender? How is the white woman represented in relation to colonised women and men? In addressing these questions the article considers shifts in the gendering of the empire genre as part of an attempt to address a range of anxieties – about the transition from empire to Commonwealth, the rise of American power, and the collapse of boundaries between colonisers and colonised.     

Tahiti: the ripples of a myth on the shores of the imagination

Influenced by Henri Lefebvre's ideas about the production of space as a continually evolving dialogic process, I trace the long post‐contact history of “Tahiti” as an entangled place where the production and product are continually intertwined. I examine more than two hundred years of historical twists and turns that result in a dialogic process of place making. Tahiti is generated when the imaginary place collides with the material existence, each reflecting and recasting the other. This intertwined history includes 18th‐century French imperialist philosophies and voyages of exploration; 19th‐century colonial intervention, romantic novels and Gauguin's colourful canvases; and 20th‐century French chocolates, Hollywood movies, French nuclear testing, postcards and more.