Scribd
Upload
3 views

CCH 3

Uploaded by

nassra2001
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
3 views

CCH 3

Uploaded by

nassra2001
Copyright
© © All Rights Reserved
We take content rights seriously. If you suspect this is your content, claim it here.
Available Formats
Download as DOCX, PDF, TXT or read online on Scribd
You are on page 1/ 2

HOLLYWOOD MOVIES AND GLOBAL CULTURE

The most commercially successful filmmaker of all time, Steven Spielberg, is


synonymous with U.S. cinema. He has directed and produced international
blockbusters such as Jurassic Park, Transformers, and the Indiana Jones movies. But critics
complain that his movies promote American values and reflect the larger trend of the
Americanization of beliefs and lifestyles around the world.

Take the case of Hollywood’s depiction of Africa. Hollywood movies—for example, Beasts
of No Nation and Blood Diamond— consistently have portrayed Africa as scenically
beautiful but terrible in other ways. Other films, for example, Independence Day, depict
Africa as a land of backward villagers and tribal warriors. The popular movie Lost in
Translation came under fire for portraying Japanese people as robotic characters who mix
up their L’s and R’s. The image-conscious Japanese were disappointed by their
depiction as comic relief. In a scene in which Bill Murray’s character is taking a shower in a
five-star hotel, he must bend and contort to get his head under the showerhead. Another
scene, in which Murray is shown towering at least a foot above an elevator full of local
businessmen, mocks the smaller physique of the Japanese. The film was seen to reinforce
negative stereotypes about the Japanese.

Today, American studios produce 70 percent of the films viewed internationally.


Hollywood is one of the United States’ major exporting industries. In contrast, the European
film industry is now about one-ninth the size it was in 1945, and today, foreign films hold
less than 2 percent of the U.S. market. The copyright-based industries, which also
include software, books, music, and TV, contribute enormously to the U.S. economy.
Although the United States imports few foreign films, Hollywood’s output remains in
high demand worldwide.

Fans worldwide increasingly stream movies on their smartphones, tablets, and other personal
devices. Netflix is a leading supplier, with more than 100 million subscribers in 190
countries. Other suppliers include Amazon, Apple, Disney, and Hulu. Netflix has subsidiaries
in Brazil, India, Japan, South Korea, and the Netherlands. Netflix streams movies from major
film companies and also produces its own programs like the popular series House of Cards.

Stereotypes and Religious Values

Under attack since their origin, Hollywood films are widely accused of presenting biased
accounts of reality. Borat was seen to portray Muslims negatively and was banned
throughout the Arab world. Similarly, The Dictator was thought to offer negative
stereotypes of Arabs. Critics felt The Love Guru made fun of Hinduism, the main religion of
South Asia. Slumdog Millionaire, while very popular in Western countries, was much
criticized in South Asia where many felt the film presented negative stereotypes
about India. Some believed the portrayal of urban poverty in India was exaggerated
and inaccurate. Nations with deep religious values were offended by Brokeback
Mountain, which portrayed a homosexual relationship between two cowboys in the United
States.

Crucial to U.S. dominance of world cinema is widespread acceptance of the cultural


associations inherent in Hollywood films, an obstacle competitors must overcome. stars
and Hollywood directors are well established in the international movie scene with
worldwide drawing power.

Movies and Comparative Advantage

According to the theory of comparative advantage, countries should specialize


introducing what they do best and import the rest. Economists argue this theory applies to
films as much as to any industry. As a former Canadian prime minister remarked, “Movies
are culture incarnate. It is mistaken to view culture as a commodity . . .Cultural industries,
aside from their economic impact, create products that are fundamental to the
survival of Canada as a society.” Thus, some countries attempt to block imports of movies
from the United States in an effort to protect their own film industries.

A Cultural Dilemma

Despite plenty of arguments on both sides of this ongoing debate, many big-budget
Hollywood movies are in fact multinational productions. The James Bond thriller
Quantum of Solace, with its German-Swiss director and stars hailing from Britain,
Ukraine, and France, was filmed in Britain, Panama, Chile, Italy, and Austria. Russell
Crowe, Charlize Theron, Penelope Cruz, Nicole Kidman, and Daniel Craig are just a few of
the many global stars not from the United States. Two of the seven major film
companies collectively known as Hollywood aren’t even U.S. firms. Hollywood is not as
American as it once was.

As the lines connecting Hollywood with the United States are increasingly blurred,
protectionists should not abandon their quest to save the intellectual and artistic quality of
films. In an interview with the New York Times, French director Eric Rohmer stated that his
countrymen should fight back with high-quality movies, not protection. “I ama commercial
film maker. I am for free competition and am not supported by the state.”

You might also like