CULTURE ON A BIG SCREEN

G L O B A L . F I L M & C U L T U R E

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SOURCE: https://giphy.com/gifs/television-happy-qC5abwZ54KV6U/

It is undeniable that the media has an impact over our society as it tends to shift and influence us in our everyday lives. One of these media platforms happens to be the recognisable hype which is filmography. Although, as beneficial and widely acknowledged as filmography is, in some countries it continues to blur the boundaries between modern and traditional, high and low culture, and ultimately starts to deny these countries of the rich national and global cultural lessons films can offer. There is, however, an alternative which can allow countries to produce their own films, letting them create a window to promote a cross-cultural understanding around the world, through the use of filmography. These films are known as ‘Global Film’.

The first example of a cultural Global Film phenomena would be the films that are produced through Nollywood, which is a low-budget film industry that was emerged in Nigeria during the early 1990s. It originated from the Yoruba travelling theatre tradition, and later by the urban Igbo natives. Since the year 2000, Nollywood films had been becoming more and more successful through its unique use of medium of the visual culture of Africa and their artistic views in the world cinematic expression as a whole. Their films are known to draw on traditional character traits and situations that are known to be popular to their culture, using a mixture of melodrama and corruption as a motif.

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SOURCE: http://joinville.se/nollywood-nigerian-film-industry/

Another example of a Global Film spectacle would be through Korean Cinema. Nowadays, the Korean media industry has become very popular, this is evident when, Woongjae Ryoo, states in his article ‘Globalisation, or the logic of cultural hybridization: the case of the Korean wave’,

South Korea has become the largest film industry.

Unlike Nollywood, where their films have never been released in theatres due to not having a big budget, Korean Cinema has high income levels, as well as, high production values, allowing them to be able to promote their films more and making them much more popular to other cultures.

This sign of popularity can lead to more influence over other cultures, opening up arguments and site of resistance. An example could be shown through this clip that’s from the animated series ‘Rick and Morty’:

As obviously presented, this television show is using humour to playfully mock American politicians, and the American culture.

But do only Americans do this?
The answer would be no, they are not. Every culture that is a part of the film industry, uses this platform of filmography, to create their own type of resistance that is enclosed to their culture only. For instance, Nollywood films are specifically made for the people of Nigeria, making their films much more appealing and relatable to their culture. If a person who is foreign to their culture watches a Nigerian film, they would find it hard to watch as it is very different from what they are used to seeing on television, creating a barrier between the cultures. This is because not only do their cultural beliefs differ, but also their senses of humour and views of what is popular. Their technology is also much more outdate than most countries, and their views on aesthetic is different, allowing them to create their own site of resistance in their own way, using their own leverage.

Each country is a manifestation of media platforms that are formed by filmography, or more specifically, ‘Global Film’. It lets other cultures to create their own versions of storytelling, further allowing them to continue shaping the cultural societies around the world and individual’s views on life.

R E F E R E N C E S:
‘Nollywood: spectatorship, audience and the sites of consumption’ 2007, Postcolonial text, vol. 3, no. 2, pp. 1-21

Ryoo, Woongjae 2009, ‘Globalization, or the logic of cultural hybridization: the case of the Korean wave’, Asian journal of communication, vol. 19, no. 2, pp. 137-151

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