Jacqueline S Stoeckler BORDERS OF NATIONAL CINEMA pp 16 25
"National Cinema" has served as an evaluative category, almost unquestioned and at best ambiguous. ... Kimmo Laine: NE 45 000 AND THE STATE OF NATIONAL CINEMA (pp. 26-45) This article explores new attempts to "nationalize" (in a figurative sense) the Finnish cinema in the early 1930s. The first phase of this "nationalization" took place early this century, characterized by attempts to link the domestic film output to established national by imagery in order to oppose the internationality of the film trade. ... These processes continued and heightened during the 1930s, although partly with a new emphasis: what was important now was first, to enhance the status of cinema; second, to prop up the identity of domestic film production in relation to other film cultures; and finally, above all, to construct and define the Finnish film audience in larger terms than ever before or after. ... I argue that during this transitional period tuberculosis, tagged as "the whole nations disease," provided the film industry with an ideal topic for building cinematic (narrative, social, and cultural) space for the national film audience. Mervi Pantti: ENLIGHTENING (AND SUBSIDIZED) ART CINEMA FOR THE PEOPLE (pp. 46-61) The opposition between popular and art cinema, typical to Finnish public discussion about cinema, culminated in the 1950s with the establishment of analytical film criticism and such institutions as film societies, the film archive, and specialist film magazines. ... This article explores how 1950s discourse about cinema (and art in general) constituted the cornerstone for the ideal of a national (art) cinema and its opposite, the cinema as passive entertainment, found in critical and state discourses. ... In the post-war years, state film policies of several European countries were conceived, above all, to promote and support the art cinema in order to counter the influx of Hollywood film, which was deemed to weaken national cinemas. ... Translation: Martti Lahti Jari Sedergren: THE FILM CENSORSHIP CODE AS PRODUCTION CODE (pp. ... Petri Pietiläinen: IRISH CINEMA: CHANGING IMAGES AND DEFINITIONS OF NATIONAL CINEMA (pp. 80-103) This article explores the definition of Irish cinema as national cinema, complicated by the fact that the Irish film industry emerged rather recently, Irish films are made in English, and several British and U.