This document discusses national cinema and how it constructs national identities. It defines national cinema as films associated with a specific country, analyzed in terms of textual features and industrial context. National cinemas can both reflect cultural identities and shape perceptions of a nation for domestic and foreign audiences. The document uses examples like Amelie and La Haine to show how films can portray either dominant or alternative views of French national identity.

2. Learning Objectives
Identify key
Term:
National Cinema
National
Identify Analyse the different ways in
which French National Identify
has been represented in film
Complete an analysis of City of
God and identity how Brazilian
National identity has been
created

3. WorldVs.‘National’ Cinema
• The study of World Cinema is,
more often than not, a study of
national cinemas, and the
different cultural identities that
these reflect.
• What are the main differences
between ‘World’ Cinema &
‘National’ Cinema?

4. National Cinema
• World Cinema
– A term used to describe films and film industries from non-English
speaking countries
• National Cinema
– A term used to describe films associated with a specific country
National Cinema is usually analysed at two levels:
Textual Features: the similarities in style
and subject matter which can be identified as
linking films from one country (Realism in
British Cinema)
Industrial Context: the way in which
national cinema is funded and distributed

5. National Cinema
• Using your notes from previous l lessons and the screening of City of God
create a list of elements that both City of God & La Haine share.
• Consider:
– Genre
– Characters & their journeys
– Themes
– Narrative
– Messages & Values
– Style
– Use of the Micro Elements
Can both of our focus films be considered
‘National Cinema’?
Explain your answer with examples from
both films

6. National Cinema
• National Cinema is a significant factor in the
contribution of a National Identity – for both
home and foreign audiences
• National Cinema focuses upon cultural and
social issues of the country in which it was made
• These films are then shown around the world
offering foreign audiences (possibly) their only
look at a society they might never otherwise
view
• As a result film has a significant impact on how
we see foreign cultures – although this is not the
only factor contributing to this, it is significant

7. Amelie – the real Paris?
• Watch the following extract from ‘Amelie’ (2001
Dir: Jean-Pierre Jeunet) and make notes on the
following:
• What ‘identity’ is created for Paris
through this film?
Amelie relies on the
• How is this ‘identity’ created? (micro ‘Romantic’ idealised
Paris identify when
elements) appealing to
audiences – a
representation that
• Why do you think the director has be dominant both
created/used this ‘Identify’ for ‘Amelie’? nationally &
internationally

8. AmelieVs. La Haine
• Amelie paints a romantic, nostalgic identity of Paris through its use
of mise-en-scene, music and CGI
• Notice the use of iconography and stereotypes
– Cafes, waiters, Accordion music, bright and colourful surroundings,
culinary passion, up-beat and friendly nature of Paris, The Tour De
France, nostalgic flashbacks
• All of these elements contribute to the creation and reinforcement
of a Dominant Cultural Identity (Cultural Hegemony)
A culturally diverse society can be dominated by one ruling class,
by manipulating cultural identity.
Done through beliefs, values, perceptions etc, the ruling class
world view is imposed as the ‘norm’
The norm is then perceived as a valid ideology and status quo.
Only the ruling class really benefit from this ‘norm’

9. Amelie: Ideological Warrior?
• National cinema is often at odds with the dominant
cultural ideology of the country it depicts
• Amelie depicts Paris as a romantic city full of beauty
and colour
• French President Jacques Chirac and the Mayor of
Montmartre Lionel Jospin demanded private screenings –
the film reinforced the ‘cultural ideology’ that would
present Paris identity in a positive and stereotypical way
• La Haine on the other hand was criticised by the Government
and authorities
Why do you think this is?
La Haine contributes only negative aspects
to French National Identity and challenges
audience expectations

10. ‘La Haine’ the French?
• As we have seen with La Haine, film has a very
real role in the construction of National Identity
• Using your notes and own personal
response to the films, answer the
following question:
What did La Haine contribute to your
understanding of French Identity?
Pick specific scenes to support your points
How do Amelie & La Haine differ in their
construction of a National Identity?
List some of the potential positive/negative
implications of National Cinema

11. National Identity
Digitally removing
• A film like Amelie may appeal to a wider
graffiti, dog shit and
international audience as it relies of ‘familiar’ and other such unsightly
stereotypical representations items, he (Jean-Pierre
• In the same way it will also appeal to a mainstream Jeunet) achieves with
French audiences who prefer the romantic and real locations a vision
positive representation of their capital city of Paris that resembles
the poetic-realist sets
of the 30s
• Whilst La Haine is littered with references to the
French under-class – Amelie purposefully attempts to
hide them
The dominant Ideological representation of Paris is
literally painting over and hiding any other ideological
representations

12. ‘City of God’?
• Using your notes from the screening and own
personal response to the film, answer the
following questions:
What cultural identities have been reflected
in City of God?
In what ways can the different national
audiences react to the film?
In what ways can international audiences
respond to the film?
Can this film be classified as national rather
than world?

13. Summary
• Our understanding of National Cinema and its role in
constructing National Identities is vital if we are to be successful
in our exam
• National Cinema is a tool filmmakers can use to portray what
they feel is the real identify of a country
• National Cinema usually challenges the Dominant Cultural
Ideologies presented by Mainstream World Cinema
• To many international audience Hugh Grant is seen as the
quintessential English gent
• But to English audiences, a character like Combo from This is
England may be a more accurate and therefore, more appealing
and relatable character
• And this difference is crucial to our understanding of
National VS. World Cinema