Transnational European cinema: representation, audiences, identity
Gespeichert in:
| 1. Verfasser: | |
|---|---|
| Format: | Buch |
| Sprache: | English |
| Veröffentlicht: |
Cham, Switzerland
Palgrave Macmillan
[2024]
|
| Schriftenreihe: | Palgrave European film and media studies
|
| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Klappentext |
| Beschreibung: | xx, 268 Seiten Diagramme |
| ISBN: | 9783031445941 |
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Contents 1 Introduction: European Film Consumption, Representation, and Identity 1 European Film Consumption Cinematic Representation European Film and Identity Formation Research Questions Methodology Outline of the Book References 2 The Transnational Viewership of European Film: Markets, Audiences, and Policies European Film Production The Theatrical Market The Home Entertainment Market European Film Audiences Cultural Discount, Distribution, and Audience Demand Policy Interventions and Market Trends Euro-million Films Conclusion References 5 11 14 15 16 24 28 33 34 37 44 47 51 55 59 64 65 IX
X CONTENTS 3 Euro-Million Mainstream Films: Large Audiences, Limited Diversity or Insights Defining Mainstream Films—Big Budgets, Popular Genres, Easy-to-Follow Narratives Euro-Million Action-Adventures Production—British or French Productions Backed by Hollywood Studios Representation—American English Audience—Popular, Particularly with Tounger Men Distribution—US Studio Backing Euro-Million Family Films Production—European Mini-Majors or Specialist Studios Working With Co-production Partners Representation—Fantasy Settings and National Stereotypes Audience—Children and Their Parents Distribution—European Mini-Majors with MEDIA Support Conclusion References 69 70 72 72 77 81 86 88 88 93 98 101 102 105 4 Euro-Million Arthouse Films: Diverse and Insightful Stories, Niche Audiences 107 Defining Arthouse Film—Authorship, Festival Recognition, Ambiguity 108 Euro-Million Arthouse Films 111 Production—A Few Auteurs, Many Partners 111 Representation—Diverse Nationalities and Themes 117 Audiences—Urban-dwelling Graduates 121 Distribution—European Boutiques with MEDIA Funding 135 Conclusion 137 References 139 5 Euro-Million Middlebrow Films: Insightful Stories, Varied Audiences, Limited Diversity 141 Defining Middlebrow Films—Serious Subjects, Accessible Form 142 Euro-Million Biopics and Period Dramas 145 Production—Anglo-French Co-productions with Public and Commercial Partners 145 Representation—The Personal Stories of Modern Britons 150 Audiences—Older Women with Degrees 155
CONTENTS Distribution—US Studios or European Mini-majors with MEDIA Support Euro-Million Comedies Production—British or French Domestic Features Made with TV Money Representation—British or French Nationals Encountering Other Nationalities Audiences—Attracting Various Demographics Distribution—MEDIA Support, Emotive Phrases, and Box Office Boasts Euro-Million Dramatic Ihrillers Production—Mainly British Co-productions Based on Best-Selling Novels Representation—A Variety of National Contexts Audiences—Toung Men with Degrees Distribution—Large European Distributors Emphasising Source Material Conclusion References 6 7 Xt 158 159 159 163 166 171 171 172 176 178 180 181 183 The Transnational Impact of European Film: Perceptions, Identity, and Other Effects The Impact of Film Consumption Cinematic Representations of Europe Impact on Perceptions of Other Europeans Impact on Perceptions of Europe’s Past Impact on European Identity Positive Impressions, Emotional Impact, and Other Effects Conclusion References 187 188 192 195 198 204 210 215 217 Conclusion: Limited Unity and Diversity Transnational Cinema and Cross-Border Media Flows European Cinema, Themes, and Genres Film Research Methods References 219 223 226 230 231 Bibliography 235 Index 249
This book explores how audiences in contemporary Europe engage with films from other European countries. It draws on admissions data, surveys, and focus group discussions to explain why viewers are attracted to particular European films and genres, including action-adventures, family films, biopics, period dramas, thrillers, comedies, and romances. It also examines how these films are produced and distributed, how they represent Europe, and how they affect audiences. Case-studies range from mainstream movies like Skyfall, Taken, and Asterix Obelix: God Save Britannia, to more middlebrow and arthouse titles, such as The Lives of Others, Volver, Coco Before Chanel, Love Is All You Need, Intouchables, The Angels' Share, Ida, The Hunt, and Blue Is the Warmest Colour. The study shows that watching European films can contribute to people's understandings of other countries and make them feel more European. However, this is limited by the strong preference for Anglo-American action-adventures that offer few insights into the realities of European life. The book discusses what these findings mean for the European film industry, cultural policy, and scholarship on transnational and European cinema. It also considers how surveys, focus groups, databases and other methods that go beyond traditional textual analysis can offer new insights into our understanding of film. Huw D. Jones is a Lecturer in Film Studies at the University of Southampton, UK. He previously worked on 'Mediating Cultural Encounters through European Screens' (MeCETES), a collaborative project on European film and
television drama, funded by Humanities in the European Research Area (HERA). |
| adam_txt |
Contents 1 Introduction: European Film Consumption, Representation, and Identity 1 European Film Consumption Cinematic Representation European Film and Identity Formation Research Questions Methodology Outline of the Book References 2 The Transnational Viewership of European Film: Markets, Audiences, and Policies European Film Production The Theatrical Market The Home Entertainment Market European Film Audiences Cultural Discount, Distribution, and Audience Demand Policy Interventions and Market Trends Euro-million Films Conclusion References 5 11 14 15 16 24 28 33 34 37 44 47 51 55 59 64 65 IX
X CONTENTS 3 Euro-Million Mainstream Films: Large Audiences, Limited Diversity or Insights Defining Mainstream Films—Big Budgets, Popular Genres, Easy-to-Follow Narratives Euro-Million Action-Adventures Production—British or French Productions Backed by Hollywood Studios Representation—American English Audience—Popular, Particularly with Tounger Men Distribution—US Studio Backing Euro-Million Family Films Production—European Mini-Majors or Specialist Studios Working With Co-production Partners Representation—Fantasy Settings and National Stereotypes Audience—Children and Their Parents Distribution—European Mini-Majors with MEDIA Support Conclusion References 69 70 72 72 77 81 86 88 88 93 98 101 102 105 4 Euro-Million Arthouse Films: Diverse and Insightful Stories, Niche Audiences 107 Defining Arthouse Film—Authorship, Festival Recognition, Ambiguity 108 Euro-Million Arthouse Films 111 Production—A Few Auteurs, Many Partners 111 Representation—Diverse Nationalities and Themes 117 Audiences—Urban-dwelling Graduates 121 Distribution—European Boutiques with MEDIA Funding 135 Conclusion 137 References 139 5 Euro-Million Middlebrow Films: Insightful Stories, Varied Audiences, Limited Diversity 141 Defining Middlebrow Films—Serious Subjects, Accessible Form 142 Euro-Million Biopics and Period Dramas 145 Production—Anglo-French Co-productions with Public and Commercial Partners 145 Representation—The Personal Stories of Modern Britons 150 Audiences—Older Women with Degrees 155
CONTENTS Distribution—US Studios or European Mini-majors with MEDIA Support Euro-Million Comedies Production—British or French Domestic Features Made with TV Money Representation—British or French Nationals Encountering Other Nationalities Audiences—Attracting Various Demographics Distribution—MEDIA Support, Emotive Phrases, and Box Office Boasts Euro-Million Dramatic Ihrillers Production—Mainly British Co-productions Based on Best-Selling Novels Representation—A Variety of National Contexts Audiences—Toung Men with Degrees Distribution—Large European Distributors Emphasising Source Material Conclusion References 6 7 Xt 158 159 159 163 166 171 171 172 176 178 180 181 183 The Transnational Impact of European Film: Perceptions, Identity, and Other Effects The Impact of Film Consumption Cinematic Representations of Europe Impact on Perceptions of Other Europeans Impact on Perceptions of Europe’s Past Impact on European Identity Positive Impressions, Emotional Impact, and Other Effects Conclusion References 187 188 192 195 198 204 210 215 217 Conclusion: Limited Unity and Diversity Transnational Cinema and Cross-Border Media Flows European Cinema, Themes, and Genres Film Research Methods References 219 223 226 230 231 Bibliography 235 Index 249
This book explores how audiences in contemporary Europe engage with films from other European countries. It draws on admissions data, surveys, and focus group discussions to explain why viewers are attracted to particular European films and genres, including action-adventures, family films, biopics, period dramas, thrillers, comedies, and romances. It also examines how these films are produced and distributed, how they represent Europe, and how they affect audiences. Case-studies range from mainstream movies like Skyfall, Taken, and Asterix Obelix: God Save Britannia, to more middlebrow and arthouse titles, such as The Lives of Others, Volver, Coco Before Chanel, Love Is All You Need, Intouchables, The Angels' Share, Ida, The Hunt, and Blue Is the Warmest Colour. The study shows that watching European films can contribute to people's understandings of other countries and make them feel more European. However, this is limited by the strong preference for Anglo-American action-adventures that offer few insights into the realities of European life. The book discusses what these findings mean for the European film industry, cultural policy, and scholarship on transnational and European cinema. It also considers how surveys, focus groups, databases and other methods that go beyond traditional textual analysis can offer new insights into our understanding of film. Huw D. Jones is a Lecturer in Film Studies at the University of Southampton, UK. He previously worked on 'Mediating Cultural Encounters through European Screens' (MeCETES), a collaborative project on European film and
television drama, funded by Humanities in the European Research Area (HERA). |
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| spelling | Jones, Huw D. Verfasser aut Transnational European cinema representation, audiences, identity Huw D. Jones Cham, Switzerland Palgrave Macmillan [2024] © 2024 xx, 268 Seiten Diagramme txt rdacontent n rdamedia nc rdacarrier Palgrave European film and media studies Geschichte 2005-2015 gnd rswk-swf European Film and TV. European Culture Film and Television Industry Motion picture plays, European Ethnology / Europe Culture Motion picture industry Television broadcasting Rezeption (DE-588)4049716-1 gnd rswk-swf Film (DE-588)4017102-4 gnd rswk-swf Europa (DE-588)4015701-5 gnd rswk-swf Europa (DE-588)4015701-5 g Film (DE-588)4017102-4 s Rezeption (DE-588)4049716-1 s Geschichte 2005-2015 z DE-604 Erscheint auch als Online-Ausgabe 978-3-031-44595-8 Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034911514&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung UB Regensburg - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=034911514&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Klappentext |
| spellingShingle | Jones, Huw D. Transnational European cinema representation, audiences, identity European Film and TV. European Culture Film and Television Industry Motion picture plays, European Ethnology / Europe Culture Motion picture industry Television broadcasting Rezeption (DE-588)4049716-1 gnd Film (DE-588)4017102-4 gnd |
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| title | Transnational European cinema representation, audiences, identity |
| title_auth | Transnational European cinema representation, audiences, identity |
| title_exact_search | Transnational European cinema representation, audiences, identity |
| title_exact_search_txtP | Transnational European cinema representation, audiences, identity |
| title_full | Transnational European cinema representation, audiences, identity Huw D. Jones |
| title_fullStr | Transnational European cinema representation, audiences, identity Huw D. Jones |
| title_full_unstemmed | Transnational European cinema representation, audiences, identity Huw D. Jones |
| title_short | Transnational European cinema |
| title_sort | transnational european cinema representation audiences identity |
| title_sub | representation, audiences, identity |
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