by Jennifer Drewett
It is quite easy to make the sweeping generalised assumption that the films shown in cinemas across the UK is quite homogenous in that it is overwhelmingly Western content. It’s not very often that one will come across a film created from somewhere that isn’t an American or British studio with English-speaking stars. Anything else tends to be relatively marginalised with a few exceptions including a Western-version of the epic Chinese film Red Cliff, the French classic Amelie and the Italian La Dolce Vita.
It’s a rather unfortunate state of affairs: without being exposed to other cultures through film one can’t hope to learn more about said culture. It certainly doesn’t help matters when some people’s main reason for not watching foreign films tend to be a distaste for subtitles. Despite this, the Asia Film Festival took place this past weekend as a big celebration of films from all across Asia. One of the films it showed was Yellow Colt.
It is quite easy to make the sweeping generalised assumption that the films shown in cinemas across the UK is quite homogenous in that it is overwhelmingly Western content. It’s not very often that one will come across a film created from somewhere that isn’t an American or British studio with English-speaking stars. Anything else tends to be relatively marginalised with a few exceptions including a Western-version of the epic Chinese film Red Cliff, the French classic Amelie and the Italian La Dolce Vita.
It’s a rather unfortunate state of affairs: without being exposed to other cultures through film one can’t hope to learn more about said culture. It certainly doesn’t help matters when some people’s main reason for not watching foreign films tend to be a distaste for subtitles. Despite this, the Asia Film Festival took place this past weekend as a big celebration of films from all across Asia. One of the films it showed was Yellow Colt.
RSS Feed
