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Like other film theory or film criticism terms (e.g., "art film"), the term "national cinema" is hard to define, and its meaning is debated by film scholars and critics. National cinema is a term sometimes used in film theory and film criticism to describe the films associated with a specific country. Although there is little relatively written on theories of national cinema it has an irrefutably important role in globalization. Film provides a unique window to other cultures, particularly where the output of a nation or region is high. Countries like South Korea, Russia and Iran have over the years produced a large body of critically acclaimed films. Regardless of the stories or styles of filmmaking the medium inherently contains a dense wealth of information about people and places through which audiences gain knowledge. A film may be considered to be part of the "national cinema" of a country based on a number of factors, such as the country that provided the financing for the film, the language spoken in the film, the nationalities or dress of the characters, and the setting, music, or cultural elements present in the film.〔Jimmy Choi. Is National Cinema Mr. MacGuffin? International Films. The Institute of Communications Studies, University of Leeds, UK. Available at: http://ics.leeds.ac.uk/papers/vp01.cfm?outfit=ifilm&folder=17&paper=22〕 To define a national cinema, some scholars emphasize the structure of the film industry and the roles played by "...market forces, government support, and cultural transfers..." 〔Tom O' Regan ''Australian National Cinema'', cited in Jimmy Choi. Is National Cinema Mr. MacGuffin? International Films/ The Institute of Communications Studies, University of Leeds, UK. Available at: http://ics.leeds.ac.uk/papers/vp01.cfm?outfit=ifilm&folder=17&paper=22 〕 ==Canadian national cinema== Canadian cultural and film critics have long debated how Canadian national cinema can be defined, or whether there is a Canadian national cinema. Most of the films shown on Canadian movie screens are US imports. If "Canadian national cinema" is defined as the films made in Canada, then the canon of Canadian cinema would have to include lightweight teen-oriented fare such as ''Meatballs''(1979), ''Porky's'' (1983) or ''Death Ship'' (1980). Other critics have defined Canadian national cinema as a "...reflection of Canadian life and culture." Some critics argue that there are "two traditions of filmmaking in Canada." The "documentary realist tradition" espoused by the federal government's National Film Board and avant-garde films. Scott MacKenzie argues that by the late 1990s, if Canada did have a popular cinema with both avant-garde and experimental elements, that was influenced by European filmmakers such as Jean-Luc Godard and Wim Wenders. MacKenzie argues that Canadian cinema has a "...self-conscious concern with the incorporation of cinematic and televisual images", and as examples, he cites films such as David Cronenberg's ''Videodrome'' (1983), Atom Egoyan's'' Family Viewing'' (1987), Robert Lepage's ''Le Confessional'' (1995) and Srinivas Krishna's ''Masala'' (1991).〔Scott MacKenzie, University of Glasgow. National Identity, Canadian Cinema, and Multiculturalism. Available at: http://archive.is/20121201023833/http://www.uqtr.ca/AE/vol_4/scott.htm〕 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「National cinema」の詳細全文を読む スポンサード リンク
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