...a film industry indigenous to North America, making American films for American audiences. That all changed with Jurassic Park in 1993, the first year in which Hollywood’s foreign earnings outpaced its domestic ones—a historic tip of the seesaw. Executives’ ears pricked up: The new Wild West was overseas. Since then, it’s been a story of rapid, exponential growth: Foreign revenues counted for 64 percent of the total in 2009, 66 percent in 2010, 69 percent in 2011—pushed up there by Avatar, tellingly a remake of Dances With Wolves in space—and now rests at a staggering 70 percent, an industry-reconfiguring statistic. In a recent piece for the New York Times, Michael Cieply observed:
Last year Hollywood’s top 20 domestic box office performers included just two movies—“The Help” and “Bridesmaids”—with realistic stories about American life, contemporary or otherwise, according to boxofficemojo.com. The rest took place in a fantasy world, like “Thor,” or abroad, like “The Hangover Part II” and "Fast Five." In 1992, by contrast, 15 of the 20 best-selling American films were rooted in realistic, if sometimes twisted, American experiences. Those included “Sister Act,” “Lethal Weapon 3,” “A League of Their Own,” “Unforgiven” and “Boomerang,” all of which were released from May to August of that year.
(...) The ironies here are legion. There were the French in 1993, up in arms about Jurassic Park, with Gerard Depardieu claiming “the movie industry in the United States is like a war machine,” and casting Steven Spielberg’s film as a Trojan horse filled with Hollywood infantrymen, all bearing checkbooks and smiles and eager to infiltrate heads of the little lycée children. Well, it was a Trojan horse, but it was bearing down on Los Angeles, not Paris. The film industry under threat was not France’s but America’s. Instead of the French waving baguettes at Jurassic Park, Americans should this year be protesting foreign audiences for turning Battleship into a hit. The film was a bomb at the North American box office when it was released earlier this year—a "two-hour infomercial that should do wonders for naval recruiting if not civilian entertainment,” said Kenneth Turan of the Los Angeles Times. But overseas it wasn’t and raked in $236 million, which meant Hasbro got stung but not nearly as much as it needed to get stung in order to stop more Battleships from being commissioned. The only ones interested in seeing Americans play the role of jingoistic, militaristic roid-heads, it seems, are non-Americans.
Ну да, а про Америку, это Сандансы, вроде "Замерзшей Реки". Замечательно т ж о братьях Коэнах:
Among their generation, maybe only the Coens are out there taking soil samples, dirtying their mud flaps in Mississippi in the 1930s (Oh Brother, Where Art Thou?), Arkansas in the 1880s (True Grit), LA in the 1940s (Barton Fink), Minnesota in the 1960s (A Serious Man),Texas in the 1980s (Blood Simple, No Country for Old Men), and—in their latest—the Greenwich Village folk scene of the 1960s (Inside Llewyn Davis). It’s quite a patchwork quilt they’ve stitched together, reliant for its charm on the brothers’ unique ear for vernacular, their eye for local exotica, and their staunch refusal to feel anywhere at home. They are strangers in a strange land, viewing their homeland through the alienated squint of the outsider—one reason why their work is such a hit overseas.
Он забыл упомянуть Фарго, но возможно, это объясняет и мои нежные чувства к ним.