By C. Celli
What makes an Italian movie Italian, a French movie French? Are Hollywood motion pictures rather American? This learn unearths how centralization, universal language and narrative conference convey the cultural heritages in the nationwide cinemas of nine nations (China, Finland, France, India, Iran, Italy, Mexico, Ukraine, and the United States). The target is to deliver severe idea and inventive expression again into equilibrium with a style that demonstrates how well known cinema really can clarify the realm, one nation at a time.
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Extra info for National Identity in Global Cinema: How Movies Explain the World (Italian and Italian American Studies (Palgrave Hardcover))
The climax of the film is Hulda’s speech about sisu (Finnish for stubborn resolve). She describes suffering in rural Finland of ruined harvests, sickness, and death in a manner that leaves her city acquaintances speechless. However, even Hulda cannot entirely overcome the negative influences of the city. After defeat in the election Hulda arrives at a party and starts drinking heavily, copying the dress and manner of the city girl. The judge, alarmed at her abandonment of rural values, proposes marriage despite her protests.
However, the bleached blond rival for the judge’s affections spreads rumors about Hulda’s origins on the park bench, an allusion to prostitution, effectively ruining her political career. This stereotypical bad girl drinks and boasts of her frequent travels to France. Her urban values and the allusions to sexual appetites contrast with Hulda’s steadfast refusal of the judge’s attempts to make her his mistress. The climax of the film is Hulda’s speech about sisu (Finnish for stubborn resolve). She describes suffering in rural Finland of ruined harvests, sickness, and death in a manner that leaves her city acquaintances speechless.
She falls for a shipwrecked stranger who takes her to Helsinki where she becomes a prostitute and eventually kills herself. In a final dream sequence this ideal blond is portrayed in mock crucifixion, the victim of the evil influence of city life. The arrival of the stranger and the girl’s descent into the squalor of city life is a continuation of the city-country conflict at the heart of Finnish film narrative. The creation of a cinematic urban Helsinki is also clear in the Inspector Palmu detective series of the early 1960s, directed by Matti Kassila and based on the novels of Mika Waltari with a heavy debt to Georges Simenon’s Maigret series.