Abstract
The history of film is marked by its origin from photography and specifically chronophotography. But its genuine career started as a popular mass media of public projections of moving images in film theaters. The first center of film production, Hollywood, is just typical for the double influence of national and international elements: the interest of creating the ideal of America and the immigrant status of the producers. Hollywood thus represented for the whole history of film as an international cultural phenomenon a menace of national hegemony. The ongoing demarcation of local signifiers in globalized movie narration implicates a confrontation with the regionality of national counter-tendencies which often end up in a kind of hybridization of transcultural elements (such as Bollywood).
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Notes
- 1.
Neal Gabler, An Empire of Their Own – How the Jews Invented Hollywood, New York: Anchor Books Doubleday, 1988.
- 2.
Kristin Thompson/David Bordwell (eds.), Film History, New York: McGraw-Hill, 2003 (2nd edition), p. 799.
- 3.
Ibid., p. 802.
- 4.
Geoffrey Nowell-Smith (ed.), The Oxford History of World Cinema, Oxford: Oxford University Press, 1996, p. XII.
- 5.
Kristin Thompson/David Bordwell (eds.), Film History, op. cit., p. 709.
- 6.
Volker Schlöndorff, Der Verlust der Liebe. Regisseur Volker Schlöndorff über die Globalisierung des Kinos, in: Der Spiegel 7/1999, p. 196f.
- 7.
Cf. also the exhibition project 100 Objects to Represent the World.
- 8.
Béla Balázs, Theory of Film: Character and Growth of a New Art, London: Dennis Dobson, 1952, p. 45.
- 9.
Benedict Anderson, Imagined Communities. Reflections on the Origin and Spread of Nationalism, London: Verso, 1983.
- 10.
Andrew Higson, The Limiting Imagination of National Cinema, in: Mette Hjort/Scott MacKenzie (eds.), Cinema and Nation, London: Routledge, 2000, p. 67.
- 11.
Ibid., p. 73.
- 12.
Rob Wilson/Wimal Dissanayake, Introduction, in: Rob Wilson/Wimal Dissanayake (eds.), Global/Local. Cultural Production and the Transnational Imaginary, Durham: Duke University Press, 1996, p. 11.
- 13.
Ibid., p. 2.
- 14.
Andreas Hepp, Translokale Medienkulturen. Netzwerke der Medien und Globalisierung, in: Andreas Hepp/Friedrich Krotz/Shaun Moores (eds.), Konnektivität, Netzwerk und Fluss. Konzepte gegenwärtiger Medien-, Kommunikations- und Kulturtheorie, Wiesbaden: VS Verlag für Sozialwissenschaften, 2006, p. 53.
- 15.
Andreas Hepp, Transkulturelle Kommunikation, Konstanz: UVK-Verlagsgesellschaft, 2006, p. 188.
- 16.
Ibid., p. 190.
- 17.
Andreas Jahn-Sudmann, Film und Transnationalität – Forschungsperspektiven, in: Ricarda Strobel/Andreas Jahn-Sudmann (eds.), Film transnational und transkulturell. Europäische und amerikanische Perspektive, Munich: Fink Verlag, 2009, p. 17 ff.
- 18.
Anton Escher, The Geography of Cinema – Cinematic World, in: Erdkunde Volume 60, Issue 4 (2006), pp. 308 and 310 f.
- 19.
Deniz Göktürk, Weltkino interaktiv. Verschichtungen von Ort und Zeit in digitalen Rezeptionsformen, in: Franciszek Grucza (ed.), Vielheit und Einheit der Germanistik weltweit, Frankfurt/Main: Peter Lang Verlag, 2012, p. 31.
- 20.
Cf. Homi K. Bhabha, The Location of Culture, Abingdon: Routledge, 2004.
- 21.
Lukas Foerster/Nikolaus Perneczky/Fabian Tietke/Cecilia Valenti (eds.), Spuren eines dritten Kinos. Zu Ästhetik, Politik und Ökonomie des World Cinema, Bielefeld: Transcript Verlag, 2013, p. 13.
- 22.
Ibid., p. 15.
Literature
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Göktürk, Deniz, Weltkino interaktiv. Verschichtungen von Ort und Zeit in digitalen Rezeptionsformen, in: Grucza, Franciszek (ed.), Vielheit und Einheit der Germanistik weltweit, Frankfurt/Main: Peter Lang Verlag, 2012, pp. 27–32.
Hepp, Andreas, Transkulturelle Kommunikation, Konstanz: UVK-Verlagsgesellschaft, 2006a.
Hepp, Andreas, Translokale Medienkulturen. Netzwerke der Medien und Globalisierung, in: Hepp, Andreas/Krotz, Friedrich/Moores, Shaun (eds.), Konnektivität, Netzwerk und Fluss. Konzepte gegenwärtiger Medien-, Kommunikations- und Kulturtheorie, Wiesbaden: VS Verlag für Sozialwissenschaften, 2006b, pp. 42–68.
Higson, Andrew, The Limiting Imagination of National Cinema, in: Hjort, Mette/MacKenzie, Scott (eds.), Cinema and Nation, London: Routledge, 2000, pp. 63–74.
Jahn-Sudmann, Andreas, Film und Transnationalität – Forschungsperspektiven, in: Strobel, Ricarda/Jahn-Sudmann, Andreas (eds.), Film transnational und transkulturell. Europäische und amerikanische Perspektive, München: Fink Verlag, 2009, pp. 15–26.
Nowell-Smith, Geoffrey (ed.), The Oxford History of World Cinema, Oxford: Oxford University Press, 1996.
Schlöndorff, Volker, Der Verlust der Liebe. Regisseur Volker Schlöndorff über die Globalisierung des Kinos, in: Der Spiegel 7/1999, pp. 196–197.
Thompson, Kristin / Bordwell, David (eds.), Film History, New York: McGraw-Hill, 2003 (2nd edition).
Wilson, Rob/Dissanayake, Wimal, Introduction, in: Wilson, Rob/Dissanayake, Wimal (eds.), Global/Local. Cultural Production and the Transnational Imaginary, Durham: Duke University Press, 1996, pp. 1–18.
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Wetzel, M. (2019). Film. In: Kühnhardt, L., Mayer, T. (eds) The Bonn Handbook of Globality. Springer, Cham. https://doi.org/10.1007/978-3-319-90382-8_9
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