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| World cinema |
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World cinema is a term infilm theory in theUnited States that refers to films made outside of the American motion picture industry, particularly those in opposition to the aesthetics, language and values of commercial American cinema.[1] TheThird Cinema, theLatino andSouth American cinema, as well theEuropean,Asian and various non-English languagenational cinemas are commonly identified as part of world cinema. The term criticizes theAmericentrism as well as the ignorance of different cinematic traditions and filmmaking diversity around the world.[1]
World cinema has an unofficial implication of films with "artistic value" as opposed to "Hollywood commercialism." Foreign language films are often grouped with "art house films" and otherindependent films inDVD stores, cinema listings etc.Unless dubbed into one's native language, foreign language films played in English-speaking regions usually have Englishsubtitles. Few films of this kind receive more than a limited release and many are never played in major cinemas. As such the marketing, popularity and gross takings for these films are usually markedly less than for typical Hollywoodblockbusters. The combination of subtitles and minimal exposure adds to the notion that "World Cinema" has an inferred artistic prestige or intelligence, which may discourage less sophisticated viewers. Additionally, differences in cultural style and tone between foreign and domestic films affects attendance at cinemas and DVD sales.[2]
Foreign language films can be commercial,low brow orB-movies. Furthermore, foreign language films can cross cultural boundaries, particularly when the visual spectacle and style is sufficient to overcome people's misgivings. Films of this type became more common in the early 2000s, asCrouching Tiger, Hidden Dragon,Amélie,Brotherhood of the Wolf,Y Tu Mama Tambien andTalk to Her enjoyed great successes in United States cinemas andhome video sales. The first foreign and foreign language film to top the North Americanbox office wasHero in August 2004.[3] "The rule for foreign-language films is that if you've done $5 million or better (in United States cinemas), you've had a very nice success; if you do $10 (million) or better (in United States cinemas), you're in blockbuster category,"Warner Independent Pictures ex-president Mark Gill said in 2009.[4]
On the other hand, English-dubbed foreign films rarely did well in United States box office (with the exception ofanime films). The 1982 United States theatrical release of Wolfgang Petersen'sDas Boot was the last major release to go out in both original and English-dubbed versions, and the film's original version actually grossed much higher than the English-dubbed version.[5][6] Later on, English-dubbed versions of international hits likeUn indien dans la ville,Godzilla 2000,Anatomy,Pinocchio andHigh Tension flopped at United States box office.[7][8][9][10] When Miramax planned to release the English-dubbed versions ofShaolin Soccer andHero in the United States cinemas, their English-dubbed versions scored badly in test screenings in the United States, so Miramax finally released the films in United States cinemas with their original language.[10][11]
After the launching of high pixelcamera phones, these are being widely used for filmmaking. The early films, made with camera phones are:New Love Meetings, a documentary film shot onNokia N90, directed by Barbara Seghezzi and Marcello Mencarini in 2005 fromItaly;Why Didn't Anybody Tell Me It Would Become This Bad in Afghanistan, the first narrative feature shot with a camera phone; aSamsung, directed byCyrus Frisch in 2007 fromNetherlands;SMS Sugar Man, a narrative film shot onSony Ericsson W900i, directed byAryan Kaganof in 2008 fromSouth Africa; Veenavaadanam a documentary film shot onNokia N70, directed bySathish Kalathil in 2008 fromIndia; Jalachhayam a narrative film shot onNokia N95, directed bySathish Kalathil in 2010 fromIndia. These are among the first noted experimental works with the first generation camera phones, which paved the way for other filmmakers across the globe.
Hooked Up,To Jennifer,Tangerine,9 Rides,Unsane,High Flying Bird,Ghost,PondicherryI WeirDo,Banger are some examples shot oniPhones.
