LEADER 04870nam 22006375 450 001 9910799227503321 005 20250807132225.0 010 $a9783031445958 010 $a3031445953 024 7 $a10.1007/978-3-031-44595-8 035 $a(CKB)29527042700041 035 $a(DE-He213)978-3-031-44595-8 035 $a(MiAaPQ)EBC31885956 035 $a(Au-PeEL)EBL31885956 035 $a(OCoLC)1499721209 035 $a(EXLCZ)9929527042700041 100 $a20240103d2024 u| 0 101 0 $aeng 135 $aur||||||||||| 181 $ctxt$2rdacontent 182 $cc$2rdamedia 183 $acr$2rdacarrier 200 10$aTransnational European Cinema $eRepresentation, Audiences, Identity /$fby Huw D. Jones 205 $a1st ed. 2024. 210 1$aCham :$cSpringer International Publishing :$cImprint: Palgrave Macmillan,$d2024. 215 $a1 online resource (XX, 268 p. 8 illus.) 225 1 $aPalgrave European Film and Media Studies,$x2634-6168 311 08$a9783031445941 327 $a1. Introduction: European film consumption, representation, and identity -- 2. The transnational viewership of European film: markets, audiences, and policies -- 3. Euro-million mainstream films: large audiences, limited diversity or insights -- 4. Euro-million arthouse films: diverse and insightful stories, niche audiences -- 5. Euro-million middlebrow films: insightful stories, varied audiences, limited diversity. 6. The transnational impact of European film: perceptions, identity, and other effects -- 7. Conclusion: limited unity and diversity -- Index. 330 $a?This study, based on a wealth of original research, analyses the production, circulation and reception of European films since 2005, considering their impact on broader cultural and social issues, notably the vexed question of what constitutes a European identity. Throughout, the author tests various theorisations and conceptual frameworks against the empirical evidence he has unearthed. His carefully considered interpretation will be widely welcomed as an important contribution to understanding European cinema.? - Andrew Spicer, Professor of Cultural Production, University of the West of England Bristol, UK This book explores how audiences in contemporary Europe engage with films from other European countries. It draws on admissions data, surveys, and focus group discussions to explain why viewers are attracted to particular European films and genres, including action-adventures, family films, biopics, period dramas, thrillers, comedies, and romances. It also examines how these films are produced and distributed, how they represent Europe, and how they affect audiences. Case-studies range from mainstream movies like Skyfall, Taken, and Asterix & Obelix: God Save Britannia, to more middlebrow and arthouse titles, such as The Lives of Others, Volver, Coco Before Chanel, Love Is All You Need, Intouchables, The Angels? Share, Ida, The Hunt, and Blue Is the Warmest Colour. The study shows that watching European films can contribute to people?s understandings of other countries and make them feel more European. However, this is limited by the strong preference for Anglo-American action-adventures that offer few insights into the realities of European life. The book discusses what these findings mean for the European film industry, cultural policy, and scholarship on transnational and European cinema. Italso considers how surveys, focus groups, databases and other methods that go beyond traditional textual analysis can offer new insights into our understanding of film. Huw D. Jones is a Lecturer in Film Studies at the University of Southampton, UK. He previously worked on ?Mediating Cultural Encounters through European Screens? (MeCETES), a collaborative project on European film and television drama, funded by Humanities in the European Research Area (HERA). . 410 0$aPalgrave European Film and Media Studies,$x2634-6168 606 $aMotion picture plays, European 606 $aEthnology$zEurope 606 $aCulture 606 $aMotion picture industry 606 $aTelevision broadcasting 606 $aEuropean Film and TV 606 $aEuropean Culture 606 $aFilm and Television Industry 615 0$aMotion picture plays, European. 615 0$aEthnology 615 0$aCulture. 615 0$aMotion picture industry. 615 0$aTelevision broadcasting. 615 14$aEuropean Film and TV. 615 24$aEuropean Culture. 615 24$aFilm and Television Industry. 676 $a791.4094 700 $aJones$b Huw D.$4aut$4http://id.loc.gov/vocabulary/relators/aut$01768896 801 0$bMiAaPQ 801 1$bMiAaPQ 801 2$bMiAaPQ 906 $aBOOK 912 $a9910799227503321 996 $aTransnational European Cinema$94234479 997 $aUNINA