Aveneu Park, Starling, Australia

On worldwide film market is overloaded with Hollywood productions.

On
the other hand, Western culture is making a huge influence on young people and
it causes serious consequences. In other words, cultural diversity is at risk,
because the US has an ultimate control and dominance of the market. Developing
countries have, to a large extent, experienced an enormous impact by Western
culture, since it started to spread like a virus. This is because, Western nations
– states imputed their own values on weaker countries by their cultural
products export (Kraidy, 2002). The United States has a market of more than 300
million people, as well as a global market, which consists of 2 billion English
speakers („America’s
Cultural Role in the World Today”, 2008). This means that plenty of tv programmes and films
can be produced and then exported at very low prices. This is the only country,
which has such an advantage in terms of language and numbers. For instance, 64% of all films featured in EU
countries in 2006 were American. In comparison, just 3% of the films featured in the US were from
Europe. This makes 22% of movies imports worldwide (America’s Cultural Role in
the World Today, 2008). In addition, films that earned the greatest amount
of money worldwide in the same year were American. Analogical trend prevails
with global television programming. These trends have particularly affected
youth in developing economies. To illustrate this point, Arab traditional
culture came across a gap among older generations and young people, who were
influenced to extremely appealing Western domination. The result of this is, the
destruction of old traditions and cultural heritage changing them with modern
alternatives (Global Policy Forum, 2000). The influence of Western movies constantly affects the outlook of those
it reaches. In general, the worldwide film market is overloaded with Hollywood
productions. Gemunden claims that American culture is fully accepted and
incorporated by young German people and national cinemas, which causes serious
issues. This is because, U.S. film production is still quite capitalist, and it
impacts transnational film industries in a destructive way (2002). As revealed
by El – Tayeb and Maccarone (1999), they experienced what it means to be controlled
by U.S. film industry forces, when they had to eliminate the orginal title of
their film – Hakuna Matata, because it was anticipated by the release of Disney’s
The Lion. Therefore, Hollywood is a part of almost every national film
industry, as it powerfully immerses into almost every production
and dictates its own rules. As a result, traditional culture is in danger
since the United States productions may contribute to the disappearance of
individual cultures. Pursuing this further, another big challenge a young
filmmaker has to face – audience is mostly attracted to films with visual
effects, otherwise they’re bored. The rise of digital effects has begun with tremendous
advancements in technology. Ryu (2007, p.223) points out that “the
distinction between live-action footage and effects-added footage has gradually
disappeared, thanks to the invisibility of contemporary visual effects”. Hence, before stepping into the field, a young
filmmaker has to comprehend, that broad imagination is not enough in the
industry. The combination of creativity and film’s production budget represents
what’s truly relevant at the present moment. This is because the use of digital
effects depends on the satisfaction of both creators and their imagination and
production budgets. Additionally, digital effects became so complex, that
audience isn’t able anymore to recognize the scenes and how they were made.
This is why a vast amount of “making-of” videos have been uploaded on social
media platforms in recent years. In short, an aspiring film director has to understand
that digital effects are a tool, which attracts a large audience. Furthermore,
post-production takes way more time, than scriptwriting or the actual shooting.
In other words, technology has taken film very seriously. Sometimes that means
the loss of naturality of moving images. As Dixon (2002, p.359) claims “the veracity of the moving image has been hopelessly compromised;
the demarcation line between the real and the engineered (both aurally and
visually) has been obliterated”. Indeed, this digital era has developed to a
certain limit, where both the audience and film producers consider what else
more they can accomplish in terms of computer-engineered images. Opportunities
seem limitless  oints out that in Korea, national blockbuster
films must to represent spectacular scenes, including the heavy use of special
effects on purpose to make it look like Hollywood style films. As aforementioned
above, U.S. still remains the dominant culture and force in Asia as well as in other
parts of the world. In addition, an Indian director’s Rakesh Roshan’s film Krrish
(2006) has been considered to be the first Bollywood film made by following
Hollywood trends and has earned $30 000 000 in 4 weeks after being released. To clarify, it was made using special effects
and adding traditional Indian dancing and singing. The result of this – Bollywood
created a new globalized vision by changing the structure of their films (Ryu,
2007).

 

 

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