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The Transnational Trend in Hollywood Popular Cinema’S New Transnational Aesthetic

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The Transnational Trend in Hollywood Popular Cinema’S New Transnational Aesthetic The Transnational Trend in Hollywood Popular Cinema’s New Transnational Aesthetic By Ingvild Marie Lien Sunde A Thesis Presented to The Department of Literature, Area Studies, and European Languages -North American Area Studies- Faculty of Humanities Supervisor: Mark Luccarelli In partial fulfilment of the requirements for the MA degree UNIVERSITY OF OSLO Autumn 2009 ACKNOWLEDGEMENTS ................................................................................................................... 4 PREFACE ............................................................................................................................................... 5 CHAPTER 1 ........................................................................................................................................... 6 THE TRANSNATIONAL TREND IN HOLLYWOOD ..................................................................... 6 1.0 INTRODUCTION ............................................................................................................................... 6 1.1 CHAPTER CONTENT ...................................................................................................................... 10 1.2 LITERATURE & FILMS ................................................................................................................... 12 CHAPTER 2 ......................................................................................................................................... 15 THE PRINCIPLE CRITERIA OF THE TRANSNATIONAL TREND ......................................... 15 2.0 CHAPTER INTRODUCTION ...................................................................................................... 15 2.1 THE TRANSNATIONAL TREND IN HOLLYWOOD ............................................................. 15 2.2 The Trend’s Development Line ............................................................................................... 17 2.3 THE TREND’S SIX CRITERIA ......................................................................................................... 23 2.3.1 Non-American Places of Action and Characters ................................................................. 23 2.3.2 Transnational Content Reflecting Globalization ................................................................. 24 2.3.3 Accents and Subtitles ........................................................................................................... 25 2.3.4 Third World Cultures – Core/Periphery Drama .................................................................. 28 2.3.5 Transnational Cinema.......................................................................................................... 29 2.3.6 The Formal and Thematic Paradigm of Hollywood ............................................................ 32 CHAPTER 3 ......................................................................................................................................... 39 INFLUENCES FROM MODERN, POSTMODERN AND POST-9/11 CINEMA ......................... 39 3.0 CHAPTER INTRODUCTION ...................................................................................................... 39 3.1 INFLUENCE MODERN AND POSTMODERN CINEMA ....................................................... 39 3.2 POST-9/11 CINEMA ...................................................................................................................... 47 3.3 MULTINATIONAL FILMMAKERS .......................................................................................... 54 FILM AND IDEOLOGY – GLOBALIZATION AND COSMOPOLITANISM ............................ 57 4.0 CHAPTER INTRODUCTION ...................................................................................................... 57 4.1 “JE SAIS BIEN, MAIS QUAND MEME…” ............................................................................... 57 4.2 FILM AND IDEOLOGY .................................................................................................................... 59 4.3 THE PREVAILING IDEOLOGY OF TODAY ........................................................................................ 67 4.4 THE TRANSNATIONAL TREND’S CORPORATE RESPONSE ........................................... 70 2 4.5 POSITIVE CONSEQUENCE OF GLOBALIZATION? ............................................................................ 73 CHAPTER 5 ......................................................................................................................................... 77 CASE STUDIES ................................................................................................................................... 77 5.0 CHAPTER INTRODUCTION ...................................................................................................... 77 5.1 BLOOD DIAMOND (ZWICK, 2006) ........................................................................................... 78 5.1.1 Synopsis ............................................................................................................................... 79 5.1.2 Case study ............................................................................................................................ 81 5.1.3. Additional Comments .......................................................................................................... 89 5.2 BABEL (IÑÁRRITU, 2006) ........................................................................................................... 90 5.2.1 Synopsis ............................................................................................................................... 91 5.2.2. Case study ........................................................................................................................... 93 5.3 SLUMDOG MILLIONAIRE (BOYLE, 2008) ............................................................................. 96 5.3.1. Synopsis .............................................................................................................................. 97 5.3.2. Case Study ........................................................................................................................... 98 CHAPTER 6 ....................................................................................................................................... 102 A TRANSNATIONAL NARRATIVE .............................................................................................. 102 6.0 CONCLUSION ............................................................................................................................. 102 6.1 FURTHER STUDIES .................................................................................................................. 104 WORKS CITED ................................................................................................................................. 106 FILMOGRAPHY ............................................................................................................................... 109 APPENDIX I ....................................................................................................................................... 110 FOOTNOTES ..................................................................................................................................... 112 3 ACKNOWLEDGEMENTS I would like to thank everyone that has contributed to this project with support, academic input, and love and care. I would like to thank my advisor Mark Lucarelli for numerous interesting discussions. Thank you for all corrections and ideas. Ellen - thank you for being such a great friend, a supportive co-student, and for just being at the right place at the right time. I would also like to thank Jenny for looking after our children when time was short. I would like to thank my Mother in particular for pushing me to pursue an academic path, and both my parents for challenging and supporting me. My Mother helped me for two whole days in order to complete my thesis and getting the right format, thank you ever so much! Finally I would like to thank my family, my husband Jan Tore and my children Clara, August and Albert, for being so patient with me over the past two years. I am very grateful for everything you have done to make things easier for me in this process. 4 PREFACE I chose the topic for my thesis for several reasons. When deciding what to spend a whole year researching and writing about it was important to me to choose something that 1) I new something about and had some level of knowledge of outside an academic realm 2) something positive (this was an advice I got from my sister as this thesis would be my main focus for a whole year) 3) something I considered important. From my training and work as an actor I felt that my knowledge of film was at a substantial level. I then searched for something positive to concentrate on stemming from the U.S. and in this case Hollywood. It was when I attended Dr. Michele Aaron’s, PHD at University of Birmingham, lecture “Conflict and Death in post-9/11 Film” that I directed my attention towards what she labeled an “un- American Cinema in Hollywood”. This is how I found the consistent patter forming what I now have called the Transnational Trend in Hollywood. In addition to this lecture Henrik Thune’s, researcher at NUPI, article in Dagbaldet (08.10.08) about the West’s growing cultural handicap inspired me further. These two influences sent me off on a journey trying to find out first, if there was such
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