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 fodder for a cultural and generational clash that structures the entire film”. This is a big issue within the film and in other well-known transnational films, old and new, such as East Is East (Damien O’Donnell 1999) and Fear Eats the Soul (Rainer Werner Fassbinder 1974). One of the issues in the film is that Reda is worried about missing his exams while he is away with his father so his father tells him “You may know how to read and write but you know nothing about life”. The audience learns as the films goes on that their journey is a way of a father teaching his son about a different culture which is a necessary feature of a transnational film because the audience also learn the same lesson. I think this is another interesting an vital strategy that European film industries have inserted into their films, that is to make sure their audience learn something, which directors from other countries are starting to pick up on. Another aspect of this film that Ferroukhi uses to display a transnational strategy is border crossing. Throughout Le Grand Voyage, the audience also get to travel with the character as the film is actually filmed in the places we see the characters visit, such as: France, Morocco, Slovenia, Bulgaria, Turkey and Mecca. This is a big part of transnational cinema because people of different cultures and nationalities mix, which is what the audience expect to see in a transnational film. When first watching the film the audience will be focusing on the physical journey the father and son are taking but as the film goes on will learn that it is about much more than that which is what Ferroukhi wanted his audience to understand. He states, “It is their physical journey that allows the inner one to progress”. The audience pick up on this throughout the film. The next aspect of transnational cinema that the French film industry inserts into this film is the use of different languages. The son Reda speaks only French throughout the film while his...
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