Cannes Do Spirit

Manohla Dargis has a nice report from the Cannes Film Festival in today's New York Times.  She ruminates on a globalized world where you can have a Paraguayan film that's financed from the Netherlands, Spain, and Argentina: My point isn't that filmmakers from countries with underdeveloped cinemas should bear the burden of cultural representation more ...

Manohla Dargis has a nice report from the Cannes Film Festival in today's New York Times.  She ruminates on a globalized world where you can have a Paraguayan film that's financed from the Netherlands, Spain, and Argentina:

Manohla Dargis has a nice report from the Cannes Film Festival in today's New York Times.  She ruminates on a globalized world where you can have a Paraguayan film that's financed from the Netherlands, Spain, and Argentina:

My point isn't that filmmakers from countries with underdeveloped cinemas should bear the burden of cultural representation more heavily than those from rich countries with mature (or decadent) cinemas; a Paraguayan director should not have to speak for his homeland any more than, say, Brett Ratner, who is here representing American national interests with the latest "X-Men" movie. The benefits of advanced technology and porous borders are inarguable, including the increased ease with which we can consume world cinema, but does this accessibility also help dilute national voices?

I think the answer to her question is yes, which makes me think that the French have got something right.  Having a government ministry of culture isn't such a bad idea.

Christine Y. Chen is a senior editor at Foreign Policy.

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