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Hollywood Goes Global |
| Section: MODERN THOUGHT / FEATURE |
| Author: Scott R. Olson |
| Publication: The world & I online |
| Issue Date: 2/1/2001 |
| Size: 4,385 Words, 28,491 Characters |
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The reason for the holes in this wall are simple. Hollywood has become an aesthetic and is no longer just a place in California. That aesthetic has been increasingly adopted by other media production centers in other countries around the world. Contrary to what is commonly reported, the Hollywood aesthetic is not particularly an American aesthetic, at least not anymore. It is a global aesthetic, and that sums up its transnational appeal.
California is joined by Brazil, Hong Kong, and other production centers in the scramble for global audiences, and they are all in a way "Hollywood." It means adopting a certain way of engaging audiences with media texts, a way that allows vastly different kinds of audiences to make sense of the same media texts.
Hollywood has so transcended geog...
. . .
...rgely domestic market) to producing global texts using the "Hollywood" aesthetic. In the history of cinema, Brazil is primarily regarded as the cradle of Cinema Novo, which had the minimalist anti-Hollywood aesthetic of "a camera in the hand and an idea in your head" or what Glauber Rocha called "the aesthetics of hunger" (Xaiver, 1997). These scarcely describe the telenovelas of the 1990s.
(812 of 28,491 characters)
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