| STUDIO SYSTEM (formated asceptisation) | Independent Auteurs (artistic freedom) |
|---|---|
| Protectionism (nationalist isolationism) | Transnational coproductions |
| Greed (profit-driven investments) | Patron of the Arts (unbinding funding) |
| Mercantilisation (repeating past profitable recipes) | Risk-taking innovations |
| Remakes (appropriation/exploitation of foreign culture) | Original versions (respect of foreign culture) |
| Contractual obligations (plot serves acting line up) | Impulse casting (actors serve the story) |
| Star System (bankable actors) | New faces, non-actors |
| Genres (standard blueprints) | Freestyle, improvisation, experiments, hybridation, essays |
| Screenwriters guild | Merit-based natural selection |
| Industrial Unions (corporatist interests dictating working conditions) | Film crew determined by mutual admiration |
| Panels / Screen tests / Focus groups (marketing tuning) | Director's final cut (auteur's creative control) |
| Fake screen reality (Product placement / Smoking ban / Brandless products / phony telephone numbers) | Screen reflecting everyone's dailylife (without advertising for a particular product) |
| PETA (patronizing animal rights) | Reason, common sense, personal ethics |
| Academism (professional routine, film school formatisation, tried and true recipes) | Experimental researches, multi-disciplinary education |
| Post-prod sound (self-dubbing actors, fake ambient soundscape, stock sounds) | Direct sound (contextualized voices, real environment, realistic and flawed soundscape) |
| MPAA (imposed hypocritical morality) | Freedom of art, confronting taboos, pushing cultural boundaries |
| Oscars (fraudulent consensus, national-centric industry) | Major Festivals (world class emulation) |
Related :
The plague of remakes, By: venicelion (The Case for Global Film, 13 November 2010)
RépondreSupprimer"Hollywood is like a huge bloated leech several times larger than the smaller creatures from which it sucks the lifeblood. I refer of course to its propensity to remake films from other cultures. The remaking scenario is usually couched in terms of reverence towards the original and claims that the remake will bring a great story to a new audience who can’t or won’t read subtitles. [..]
There is no need to re-make them since the originals are available. As far as I can see the Anglo-American version of Let The Right One In is very similar to the original. If so, it is pointless. [..]
When filmmakers with the reputation of a David Fincher or a Martin Scorsese (Departed?) make pointless remakes it does make you wonder at the paucity of imagination in Hollywood – and the lack of shame. If the justification is that it brings new ideas to audiences who won’t read subtitles, perhaps we (teachers) are at fault in not pursuing a more rigorous film education policy? [..]
In the past, some distributors have bought the territorial rights for the original and then shelved the film to keep the market clear for the remake. But the ease of importing DVDs has, I think, had an impact on this practice."
A Brief History of conspicuous Product Placement in Movies (YouTube) 6'31"
RépondreSupprimerby Olivier Noble (Filmdrunk)