Rethinking cultural diversity in the UK film sector: Practices in community filmmaking

Malik, Sarita; Chapain, Caroline; Comunian, Roberta

doi:10.1177/1350508416689094

Cited by 14 publications

(12 citation statements)

References 31 publications

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“…Recently, calls for greater 'cultural diversity' in film policy have been important. Cultural diversity has been predominantly used as a means to think about identity in different contexts (Malik, Chapain and Comunian 2017;Pitcher, 2006), and it came to the fore in cultural policy in the New Labour years. In the film sector this has focused on inequalities in representation in the production workforce (Newsinger, 2012;Nwonka, 2015), but also on the defense or promotion of 'national' cinema against Hollywood power (Higson, 2000).…”

Section: Research Context: Regions Policy and Diversitymentioning

confidence: 99%

Inequalities in Regional Film Exhibition: Policy, Place and Audiences

Merrington¹,

Hanchard²,

Wessels³

2021

Journal of British Cinema and Television

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This article questions the variety of film exhibition in four English regions. While a regional and national frame is the focus of cultural policy in relation to film audience development in the UK, our analysis examines relational, localised and sub-regional film cultures in order to understand how differing levels of film exhibition influence people's sense of place. This is framed within a discussion of cultural inequality more generally. In the UK, questions of engagement with different types of film exhibition have gained greater prominence recently, but there has been limited attention paid to how audiences understand their geographic relationship with film exhibition. Drawing on 200 semi-structured, qualitative interviews with a wide range of film viewers across four English regions, the North East, North West, South West and Yorkshire and the Humber, we assess perceptions of film exhibition in these regions. In doing so, we characterise five different modes of place in relation to the breadth of film exhibition, from distinctive film cities to mainstream multiplex towns. In particular, we focus on how access to film is simultaneously narrated through both localised proximity to cinemas of different types and virtual access to film through online platforms. This work provides further evidence of the uneven provision of diverse film in England but shows how film audiences relationally interpret their engagement within film as a cultural form.

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Section: Research Context: Regions Policy and Diversitymentioning

confidence: 99%

Inequalities in Regional Film Exhibition: Policy, Place and Audiences

Merrington¹,

Hanchard²,

Wessels³

2021

Journal of British Cinema and Television

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“…However, most of the current literature is limited to specific research in the Asian region and short-term surveys. The scope of research does not fully cover all large-scale TNMCs, so there are still certain limitations and biases in the summarized results [3][4][5][6][7][8].…”

Section: And Cbs Corporationmentioning

confidence: 99%

“…Cultural globalization in TNMCs enables numerous cultures to cooperate with America to create and strengthen cultural diversity in cultural globalization. Hollywood movie industries use many foreign cultural elements in their products and help them interpret and spread through a global scale [7,8,26]. Therefore, those cultures are benefited from the scenes, myths, or countercultures the movies used, and the people who shared the same culture will feel connected with the movie and the same experience of the culture.…”

Section: Cultural Globalizationmentioning

confidence: 99%

Review of Cross-border Movements of Transnational Media Conglomerates

Liu¹,

Xin-lin²,

Tu³

et al. 2021

Proceedings of the 2021 International Conference on Public Relations and Social Sciences (ICPRSS 2021)

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This review article tries to form a deep understanding of the effects of Transnational Media Conglomerates' (TNMCs') cross-border movements on cultural integration, exchange, or even some resistant practices in other foreign nations. Published books, journal papers, global business reviews, research articles, and other resources in relation to the crossborder movements of TNMCs will be used to support the analysis of this review article. Through reviewing those previous theoretical studies and particularly cross-cultural reception and effects of Hollywood film industry cases from cultural imperialism, cultural homogenization, and cultural globalization, we have found that the cross-border movements of TNMCs are complex and related to multiple factors included within the two most debated paradigms of global entertainment media -CI (cultural imperialism) and CG (cultural globalization). The combination of the above three cultural dimensions within the two paradigms found that the intensifying trends of globalization have promoted the integration of various cultures, leading to TNMCs better participation in the cross-border movements in the global entertainment market. Although there are many nations in the world system, global entertainment media industries, and culturally proximate markets, the US and US-based TNMCs still occupied the world's most dominant cultural primacy of TNMC production, distribution, exhibiting, marketing and consumption. However, the US Empire and its cultural imperialism are no longer necessarily adequate and effective enough to describe the global cultural condition through influencing other nations due to the transnational corporate culture developed from other nations' media organizations. Therefore, the cross-border movement of TNMCs would indeed cause the tension of local traditional culture and the trend of cultural homogenization to a certain extent. Still, different regions have different attitudes and adjustment measures towards this crisis, and they are also trying to export their values and profit from it at the same time. This article can provide a clear framework for future researchers to understand the balance of local and invading cultures and the future development of TNMCs. However, there are limited sources about other non-US TNMCs, so this review article may not provide a complete analysis of the overall TNMCs.

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“…At the other end of the spectrum, there is non-participatory community filmmaking, where community filmmakers who might film community issues but do not involve communities in participatory ways." (Malik et al, 2017) So it is understandable that these seminal terms confuse researchers. Though Gareth experimental approach to participatory video."…”

Section: Literature Reviewmentioning

confidence: 99%

“…'Community filmmaking originates in the community arts and media movement of the 1960s, which aimed to challenge mainstream arts and media values and production systems by giving a voice to every citizen to represent and cater better for the needs of all parts of society. Whatever their position or background, and to elicit social change and support political contestations' (Berrigan & Unesco, 1977;Carpentier & Scifo, 2010;Malik, Chapain, & Comunian, 2017;McKay, 2010). This statement can be considered a definition of community film or community filmmaking since there is no bold definition for community filmmaking.…”

Section: Introductionmentioning

confidence: 99%

Community Film Making and innovative direction of rural art (An ethnographic study on a Sri Lankan community film 'Walapane Satana')

Lokuliyana

Ruwanpathirana

2020

TRIVALENT: J Arch. Tourism Anthrop.

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Community film' is an attractive new term that has been emerged over the past few years.Though Sri Lankans are familiar with 'Community radio', the phrase 'Community film' is still a novel idea. But, it has been recognized by the world that community filmmaking is a broad concept that can be understood and produced in different ways, such as participatory community filmmaking and non-participatory community filmmaking. This study focuses on 'participatory community filmmaking' and tries to understand how it works, why it is made, what the benefits are, and how we can use it as a tool to achieve something positive. Under the qualitative research approach, an ethnographic study was performed. Films have been classified under various criteria, and it helps to understand what type of film it is. Primary and secondary data were collected. Preliminary data was collected through participatory observation and interview methods. Since the film, 'Walapane Satana' was the only film found from Sri Lanka and easily fit into the criteria to call it a community film, it was used for the study. The research revealed a solid sociocultural background behind the making of this film. This particular community film has influenced the development of the place and individuals of this village in many ways.Almost all the villagers have participated in this film to attend and make, teach, learn, present, promote, judge, support, and span many artistic disciplines. Most importantly, some people have given up their lifelong bad habits to become a part of this film, and at the end of the film, they have entirely dumped those habits and have started effectively leading their lives. Furthermore, being a part of this film has added value to their lives, and it has empowered and educated them to become worthy citizens. These findings led the researcher to conclude the study with a strong opinion on community filmmaking as a powerful driver for social change.

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Rethinking cultural diversity in the UK film sector: Practices in community filmmaking

Cited by 14 publications

References 31 publications

Inequalities in Regional Film Exhibition: Policy, Place and Audiences

Inequalities in Regional Film Exhibition: Policy, Place and Audiences

Review of Cross-border Movements of Transnational Media Conglomerates

Community Film Making and innovative direction of rural art (An ethnographic study on a Sri Lankan community film 'Walapane Satana')

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