Film and Nationalism

Rutgers Depth of Field Series

by Alan Williams (Editor)

Today there is much debate over an increasingly "global economy." But commercial cinema has been, from the very beginnings of its existence, "globalized." From the mediums inception, films have defined and reinforced the core values and social structures of countries. They have also helped definesocially and culturallywhat is to be considered "outside" the nation and what it is to be shunned. Film and Nationalism examines the ways in which cinema has been considered an arena of conflict and interaction between nations and nationhood. Each section of this volume explores a crucial aspect of the discussion. Is film an effective form of national propaganda? Are films losing the very notion of nationhood, in favor of a generalized, "global" cinematographic culture? What is films influence over "national character"? In addition, the volume explores the cultural and economic interactions between developed and underdeveloped countries. How have third world nations defined themselves in relation to hegemonic first world cultures, and how have their relations been changed through the dissemination of Western films? Throughout, Alan Williams chooses essays that enhance our understanding of how films help shape our sense of nationhood and self.

Paperback

First published December 1, 2001

About the author

Alan Emlyn Williams was a journalist and foreign correspondent, reporting from notable hotspots worldwide including Hungary in 1956, Algeria, Vietnam and Northern Ireland. In 1962 he started writing thrillers which brought him the accolade "the natural heir to Ian Fleming" but it was his well-researched spy stories such as The Beria Papers and Gentleman Traitor (which featured real life traitor Kim Philby) which brought him international success.

Reviews

[Ivan]

A colorful and miscellaneous essay book on an uncommon topic.

With powerful texts from Eric Rentschler and Jonathan Rosenbaum and some other scholars of lower profile but undeniable talent.

The only point is that this is an american study with an american idiosincrasy and for foreigner readers (as me) the subject becomes less interesting.

In addition, some essays seem to act as filler and other ones seem to be kind of superficial on most prominent/popular topics like nazi propaganda or pre-NouvelleVague french cinema.

Above all this is a great book, and a MUST for both film buffs and scholars interested on the 'Nation Question'.