Discuss How the Different National Film Industries in Europe Have Recently Developed a Variety of Transnational Strategies to Expand Their Market
Faye Borrows
Discuss how the different national film industries in Europe have recently developed a variety of transnational strategies to expand their market. You will consider production and distribution issues from several different countries, using at least two set films as case studies, adopting a comparative approach.
European film industries are now starting to develop and are becoming more successful in countries other than their own. This is because national film industries in France, Spain, Germany, Turkey and others around Europe are starting to use transnational strategies when writing and making their films. The meaning of transnational cinema is when a film includes actors of different nationalities that speak their own or other languages and when the storyline of the film includes use of different languages, cultural differences and filming in different countries. The films I have chose as case studies to represent transnational cinema are Le Grand Voyage (Ismael Ferroukhi, 2004) and Dirty Pretty Things (Stephen Frears, 2002). I believe both films are ideal to represent transnational cinema and its features. I am going to look at the features of the films, the industries they belong to and how the production and distribution for each are different because of the industries they come from.
Firstly, Le Grand Voyage is an ideal film to represent transnational cinema because it uses all the main features that make a film transnational. The director of this film Ismael Ferroukhi is, like the main character from a French-Moroccan background. Which I think makes the character Reda so successful, because Ferroukhi was able to use his personal experiences to make this character more successful. One of the main features of this film that makes it transnational is the cultural differences between Reda and his father, which sets the whole theme of the film according to a source:
“Their myriad personality differences, both major and subtle provide
Discuss how the different national film industries in Europe have recently developed a variety of transnational strategies to expand their market. You will consider production and distribution issues from several different countries, using at least two set films as case studies, adopting a comparative approach.
European film industries are now starting to develop and are becoming more successful in countries other than their own. This is because national film industries in France, Spain, Germany, Turkey and others around Europe are starting to use transnational strategies when writing and making their films. The meaning of transnational cinema is when a film includes actors of different nationalities that speak their own or other languages and when the storyline of the film includes use of different languages, cultural differences and filming in different countries. The films I have chose as case studies to represent transnational cinema are Le Grand Voyage (Ismael Ferroukhi, 2004) and Dirty Pretty Things (Stephen Frears, 2002). I believe both films are ideal to represent transnational cinema and its features. I am going to look at the features of the films, the industries they belong to and how the production and distribution for each are different because of the industries they come from.
Firstly, Le Grand Voyage is an ideal film to represent transnational cinema because it uses all the main features that make a film transnational. The director of this film Ismael Ferroukhi is, like the main character from a French-Moroccan background. Which I think makes the character Reda so successful, because Ferroukhi was able to use his personal experiences to make this character more successful. One of the main features of this film that makes it transnational is the cultural differences between Reda and his father, which sets the whole theme of the film according to a source:
“Their myriad personality differences, both major and subtle provide