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Essay / Research Paper Abstract
This 5 page paper considers the views of Andrew Higson that "histories of national cinema can only be understood as histories of crisis and conflict, of resistance and negotiation" in the context of British cinema in the 1980's, a time when there was a resurgence in heritage films. The bibliography cites 6 sources.
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5 pages (~225 words per page)
File: TS14_TEbritcin80.rtf
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be reconsidered, and that instead of being the result of nationalistic culture only, the role of the national cinema is more than this as "histories of national cinema can only
be understood as histories of crisis and conflict, of resistance and negotiation" (Higson, 1989). This is an approach which overturns the traditional views of national cinema as a form that
is able to accurately express the totality of the concerns of a nations as well as featuring the relevant culture and may be useful when looking at British films of
the 1980s. When looking at national cinema in this context it becomes a medium that itself is the focus of debate regarding the history, traditions, memory and heritage in
a nation. Higson does accept that there are a number of discursive approaches which can be adopted when examining film, but with this approach there is a singular discursive approach
advocated where the examination of the concept, development and manifestation of national cinema "involves a shift of emphasis away from the analysis of film texts as vehicles for the
articulation of nationalist sentiment and the interpellation of the implied national spectator, to an analysis of how actual audiences construct their cultural identity in relation to the various products of
the national and international film and television industries, and the conditions under which this is achieved... for what is national cinema if it doesnt have a national audience" (Higson,
1989; 45-6). Therefore, it is not only the film makers and the way that films are written and then produced that matter in the concept of national cinema; it
is also the way that the audience interpret the film. It appears to be an interesting and viable approach to the way in which national cinema is perceived and the
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