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We, on the other hand, are colonized by wankers. It indicates the extent to which such films now address themselves to world audiences including American audiences.


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Post-national pastiche as well as self-othering represent more fluid forms of European identity, appealing to audiences receptive to films from Britain, France, Germany or Spain. Already in the s, German filmmakers complained that the Americans, by making a television series called Holocaust had appropriated their history.

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Both films were big successes with the European public, while not faring well with the critics. The series Holocaust, it is often pointed out, allowed the German Cinema to reinvent itself in the mids around films dealing with fascism Syberberg, Kluge, Fassbinder, Schloendorff, von Trotta, Sanders-Brahms , thereby for the first time attaining an international public. Among these markers, general period settings — Edwardian England, France under the Occupation, Berlin in the early s — are more prominent than specific historical events, and even then, the period often figures in the context of negotiating other issues, such as class, gender or sexual identity.

But the new cultural studies or popular memory agendas also change the perspective we now have on the cinema of the s and 50s. Not only is it broadcast every Christmas on television; university students show it on the big screen in specially hired halls, with audiences dressing up and miming favorite scenes in the Rocky Horror Picture Show manner. The extraordinary revaluation that the British cinema has undergone in the past two decades is also partly based on such a revision of the criteria applied to the films rather than the films themselves.

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Films produced in this way, i. In other words, such films would still have to declare their nationality in all kind of other ways: for instance, by their stars, their settings and story. For audiences, finally, the criteria of choice are different still: they might recognize the name of a star, say Juliette Binoche, and think of Blue , Chocolat and Copie Conforme as French films, belonging together because of Binoche. But what would such a spectator make of Breaking the Waves or Dancer in the Dark?

British the first, American the second? Cinephiles, of course, will know that these are Lars von Trier films and associate them with Denmark, a nationality label that only the production credits will confirm, but neither language nor setting. Von Trier, of course, is the master of the national camouflage among European directors. Astutely mixing at least one recognizable American actor or actress into the European stew Nicole Kidman, Willem Dafoe, Kirstin Dunst , his films are almost all in English, clearing the language barrier like horse that is show jumping.

Only a minority of European productions have the budgets, stars and production values even to try to reach an international mainstream audience, and often enough these films fail in their aim, not least because it means they have to disguise themselves to look and sound like they were American. Yet they also show how important it is to keep all its possibilities — comic, tragic and utopian, but also duplicitous, disguised and flamboyantly displayed — persistently in play.

Mellencamp, P. Rosen eds.

Pabst, and F. London: British Film Institute, , p.


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