Comparative Film Analysis

One may find it hard to find a direct relationship between films and nations, and their roles in an increasingly transnational world. In order to understand the relationship between film and nation, there needs to be an understanding of tradition as well as modernity. Throughout history, one could argue that nations could be defined easily by the films that were made there, and produced by people from there as well. In modern day society, however, this is not the case. A single film cannot categorize a nation, nor can itself be categorized as a film of a certain nation. Historically, the term “national cinemas” had a continuous meaning for any film that was not produced in Hollywood. Particularly since the 1980s, “national cinemas” has become …show more content…
With that said, it leads us to several questions: Is this a French film? Is it an Iranian film? Is it both Iranian and French? It is hard to understand the relationship of film and nation conclusively because people tend to see films as different nationalities even if the director did not intend for that. What is also interesting about The Past is that it is uncomplicated, but complex simultaneously. It is simple because is about everyday couple. It is complex because it lacks an abundance of dialogue and clarity for the meaning of things. This leaves a lot of interpretation for the audience, making it unique for each …show more content…
Susan Hayward brings up an interesting debate by questioning the concept of nation-states and nationalism. “The state is a legal and political concept, and is not a community. The nation for its part is defined as a social cultural community and yet it is one that must comply with the state” (Hayward, 89). She argues that you cannot truly have one without the other, but that the state has power over the nation. The idea of nation gives a sense of a community and a sense of belonging for the people. To have nationalism takes one back to the concept of modernity. Traditionally, people were more dedicated to their family obligations and relationships. In modern day, there seems to be a lack of this commitment to family obligations. the state has again gained power over the nation. Hayward states that the nation has been disguised for what it truly is which is a “‘fictional’ one might say pathological, construction to ease the fear of alienation” (Hayward, 91). National cinemas has acted as a barrier for the people within a nation because when viewers watch these cinemas, there is a loss of knowledge for that the nation truly is. “It [cinemas] is inherently a hybrid of many cultures, be they economic, discursive, ethnic, sexed and more” (Hayward, 101). The audience only knows that of which is projected to them through the