In any examination of European plastic film unity must(prenominal) first realize that the boundaries of Europe are not as clearly defined as one would think. What constitutes a European? Location! Is location enough for a strong European identity to develop? The answer remains to be seen plainly certainly thus far it has not. This leads to problems in defining what constitutes a European Cinema. In this multi-lingual, multi-ethnic, multiplicity of countries that forms the continent of Europe, there is no single unifying factor other than location. Therefore it is inconceivable to fathom the idea of a single European identity, as identities are never simply given, but are of all time in process then the identity of the ?new Europe- as well as identities within Europe- are still in a process of becomingÂ(Hall pg 70).
With this in mind one can begin to comprehend the impossibility of the notion of a single European Cinema aimed at challenging the brisk monopoly of Hollywood. While it may arouse emotions, have a releasing effect on its audience and challenge the existing consideration quo by raising some inconvenient questions, European cinema is too audience specific in its themes to challenge the to a greater extent universality of the themes in Hollywood narratives.
So is there a strong independent tradition of filmmaking in Europe?
forward we can answer this question it is first required that we hunch what it is that constitutes a European film. Can European cinema amply break from the overwhelming pressures and confines of the Hollywood narrative and compose a single unit in an otherwise garbled entity. Take for example David Puttnams War of the Buttons (1994). This film was shot solo in west Cork, with an all-Irish cast, with a script from an English rootage based on a French novel, with investment from France Britain and Ireland. So...
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