By Katrin Sieg (auth.)
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Extra info for Choreographing the Global in European Cinema and Theater
10 The breakup of the American studio system as a consequence of the antitrust ruling of 1948 drastically changed the domestic organization of the industry and provided it with an added impetus to assert itself in foreign markets previously closed to it. In response, many European governments enacted protectionist measures that included import quotas and subsidies for their national film industries but also limited the outflow of their currency abroad. The “blocking” of funds and the stipulation that “a portion of the income earned in film distribution could only be spent in the country in which it was earned” prevented the studios from repatriating their foreign revenues (Lev 2003, 148).
Film scholar Randall Halle, British theater critic Baz Kershaw, and Mark Rectanus who writes on corporate sponsorship and museums all concur that the privatization of public art takes away the main prerequisite for artistic freedom and subordinates culture to the profit motive generally and the sponsoring corporation’s specific interests, even where corporations’ contributions to an institution’s overall budget is smaller than the public subsidies, as is very often the case in Germany. However, as governments increasingly adopt corporate practices in their operations, public funding is now more than before tied to commercial success.
Given that—as Anderson repeats again and again—love of nation has served first and foremost to justify war, sacrifice, and death, such a quasi-national identification might be appropriate for a political entity that has prioritized free trade over social justice and a common defense and security policy over a common immigration and integration policy. Rather than ending war, Europe’s citizens will be told to fight its enemies without and within; they will be asked to die for the EU. Against the discourse of acclamation, the artists whose work I discuss in this book chronicle the disintegration of the traditional, ethnically homogenous notion of national community without remembering the German nation with regret or nostalgia.
Choreographing the Global in European Cinema and Theater by Katrin Sieg (auth.)