{"title":"Cinema as a “Soft Power” Instrument of the State: Examples of Spanish and U.S. Cinematography","authors":"Darya Kulikova","doi":"10.17212/2075-0862-2023-15.2.2-459-475","DOIUrl":null,"url":null,"abstract":"The article considers cinema as an instrument of soft power of states, using the example of cinema in Spain and the USA. Different approaches are shown. On the one hand, the United States, which uses universal concepts, on the other hand, Spain, which uses stereotypical ideas and recognizable images about its country. In American films, most often, universal topics are used that are understandable to all people: the struggle between good and evil (moreover, evil is universal, threatening the whole world, and good is the United States), love, happiness, compassion. Even if purely national issues are raised in American films (for example, African-American racism), these problems are presented as universal, as a problem of human dignity, honor, etc. In Spanish cinema, well-established stereotypes about Spain and its culture are actively used: bullfighting, flamenco, Andalusian folklore, traditional cuisine and clothing (for example, the matador costume), as well as typical, recognizable images of the Spanish man and woman (Spanish macho - Antonio Banderas and swarthy, passionate, beautiful Carmen - Penelope Cruz). All this forms the concept of ‘españolada’. The United States does not officially support its film production, but coordinates and consults with the film productions and directors through unofficial resources, primarily the Motion Picture Association of America, whose leadership includes many former White House officials. Spain, on the contrary, actively supports its filmmakers, helps to promote Spanish films in the international arena, develops joint film production, stimulates the shooting of films at the state level, including foreign ones, using Spanish locations, etc. Thus, one can see two different approaches to cinema as an instrument of soft power, and although American cinema certainly dominates the world market, the obvious success of Spanish cinema, which is becoming increasingly popular, should be noted.","PeriodicalId":336825,"journal":{"name":"Ideas and Ideals","volume":"192 1","pages":"0"},"PeriodicalIF":0.0000,"publicationDate":"2023-06-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Ideas and Ideals","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.17212/2075-0862-2023-15.2.2-459-475","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
The article considers cinema as an instrument of soft power of states, using the example of cinema in Spain and the USA. Different approaches are shown. On the one hand, the United States, which uses universal concepts, on the other hand, Spain, which uses stereotypical ideas and recognizable images about its country. In American films, most often, universal topics are used that are understandable to all people: the struggle between good and evil (moreover, evil is universal, threatening the whole world, and good is the United States), love, happiness, compassion. Even if purely national issues are raised in American films (for example, African-American racism), these problems are presented as universal, as a problem of human dignity, honor, etc. In Spanish cinema, well-established stereotypes about Spain and its culture are actively used: bullfighting, flamenco, Andalusian folklore, traditional cuisine and clothing (for example, the matador costume), as well as typical, recognizable images of the Spanish man and woman (Spanish macho - Antonio Banderas and swarthy, passionate, beautiful Carmen - Penelope Cruz). All this forms the concept of ‘españolada’. The United States does not officially support its film production, but coordinates and consults with the film productions and directors through unofficial resources, primarily the Motion Picture Association of America, whose leadership includes many former White House officials. Spain, on the contrary, actively supports its filmmakers, helps to promote Spanish films in the international arena, develops joint film production, stimulates the shooting of films at the state level, including foreign ones, using Spanish locations, etc. Thus, one can see two different approaches to cinema as an instrument of soft power, and although American cinema certainly dominates the world market, the obvious success of Spanish cinema, which is becoming increasingly popular, should be noted.
本文以西班牙和美国的电影为例,认为电影是国家软实力的工具。展示了不同的方法。一方面是使用普遍概念的美国,另一方面是使用关于其国家的刻板印象和可识别图像的西班牙。在美国电影中,最常见的是使用所有人都能理解的普遍主题:善与恶的斗争(而且,恶是普遍的,威胁着整个世界,善是美国),爱,幸福,同情。即使在美国电影中提出纯粹的国家问题(例如,非洲裔美国人的种族主义),这些问题也被呈现为普遍的,作为人类尊严,荣誉等问题。在西班牙电影中,关于西班牙及其文化的刻板印象被积极使用:斗牛、弗拉门戈、安达卢西亚民间传说、传统美食和服装(例如斗牛士服装),以及典型的、可识别的西班牙男人和女人形象(西班牙男子安东尼奥·班德拉斯和黝黑、热情、美丽的卡门-佩内洛普·克鲁兹)。所有这些构成了“españolada”的概念。美国并没有正式支持其电影制作,而是通过非官方资源,主要是美国电影协会(Motion Picture Association of America),与电影制作和导演进行协调和协商,该协会的领导层包括许多前白宫官员。相反,西班牙积极支持其电影人,帮助在国际舞台上推广西班牙电影,发展联合电影制作,鼓励在国家一级拍摄电影,包括外国电影,使用西班牙的外景等。因此,人们可以看到两种不同的方法,将电影作为软实力的工具,尽管美国电影无疑主导着世界市场,但应该注意到西班牙电影的明显成功,它正变得越来越受欢迎。