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Hollywood/Europe: A Transnational Film Culture - JTM250
Anglický název: Hollywood/Europe: A Transnational Film Culture
Český název: Hollywood/Evropa: kultura transnacionálního filmu
Zajišťuje: Katedra severoamerických studií (23-KAS)
Fakulta: Fakulta sociálních věd
Platnost: od 2023
Semestr: zimní
E-Kredity: 6
Způsob provedení zkoušky: zimní s.:
Rozsah, examinace: zimní s.:1/1, Zk [HT]
Počet míst: 17 / 20 (24)
Minimální obsazenost: neomezen
4EU+: ne
Virtuální mobilita / počet míst pro virtuální mobilitu: ne
Stav předmětu: vyučován
Jazyk výuky: angličtina
Způsob výuky: prezenční
Způsob výuky: prezenční
Další informace: https://dlcv.cuni.cz/course/view.php?id=493
Poznámka: předmět je možno zapsat mimo plán
povolen pro zápis po webu
při zápisu přednost, je-li ve stud. plánu
Garant: Richard Andrew Nowell, Ph.D.
Vyučující: Richard Andrew Nowell, Ph.D.
Třída: Courses for incoming students
Anotace - angličtina
Poslední úprava: Mgr. Jiřina Tomečková (26.09.2023)
Distinctions between a supposedly American Hollywood and a supposedly separate "European cinema" represent something of a founding myth of Film Studies and myriad film cultures around the world. However, such a distinction masks the degree to which transatlantic flows of capital, people, ideas, and products have generated myriad interconnections between the two. Accordingly, this course offers insights into the relations between Hollywood and Europe, by seeking to complicate three discourses underpinning discussions of this topic. First, that Hollywood is an American institution, and as such is separate from Europe. Second, that Hollywood cinema and European cinema are fundamentally different - even binarily opposed - entities. Third, that the dissemination of Hollywood cinema in Europe represents an effort both to impose a "foreign" culture onto an overseas territory. Students will therefore consider the extent to which Europeans have been a part of the structures of Hollywood, the stylistic exchanges linking "Hollywood" and "European" films, and the ways Hollywood has geared images of Europe and Europeans to targeted audiences on both sides of the Atlantic. In so doing, students are invited to develop their critical understandings of issues pertaining to cultural imperialism, Americanization, globalization, and the national.
Cíl předmětu - angličtina
Poslední úprava: Mgr. Jiřina Tomečková (26.09.2023)
Hollywood/Europe: A Transnational Film Culture aims to facilitate students’ deeper understanding of the dynamic relationships that have existed between Hollywood and Europe. It aims to do so be shedding light on the various contexts in which the interaction of Hollywood and Europe has taken place - from strategy, production, and film content to distribution, exhibition/delivery, and reception. By the end of the course, students will be expected to posses: the critical abilities to produce insightful analysis of film texts, and to explain how these films are shaped by the complex social, historical, political, and industrial relationships that have existed between Hollywood and Europe at certain historical junctures. For the targeted learning outcomes of each session, please refer to Moodle or SIS.
Podmínky zakončení předmětu - angličtina
Poslední úprava: Richard Andrew Nowell, Ph.D. (27.12.2023)

 This course is graded on the submission of three short essays. Each paper is equally weighted, and the overall grade for this course is the average thereof.


Paper I

Students  are to submit  a circa. 1,500 word essay in response to the following prompt derived from sessions 1 and 2:



Hollywood is typically assumed to be American. However, the work of Higson, Behlil, and Meers show us how transatlantic flows of people, capital, ideas, and products all complicate the notion that Hollywood is in fact an American institution, and thus distinct from Europe. With these points in mind, consider the extent to which production, content, and circulation of ONE Hollywood film not screened on this course illustrate this phenomenon.

Due Date: 12:00 Noon CET Friday 3 November 2023


Paper II

Students are to submit a circa. 1,500 word essay in response to the following prompt derived from sessions 3 and 4.



Hollywood cinema and European cinema are often considered to be binarily opposed, based on oppositions related to escapist entertainment and cerebral art. However, this notion is complicated by European-based producers supplying Hollywood with examples of “Mid-Atlantic Cinema” and “Imperso-Nation”, and Hollywood’s handling of films using the art cinema model typically associated with Europe. With this point in mind, use an example of ONE of these approaches to illustrate this phenomenon.


Due Date: 12:00 Noon CET Friday 1 December 2023


Final Paper

Students are to submit a circa. 1,500 word essay in response to a prompt derived from sessions 5 and 6.



Central to the discussion of Americanization has been the notion that Hollywood promotes American values to international audiences such as those in Europe. However, some scholars have shown that Hollywood sometimes uses images of Europe and Europeans primarily to invite Americans to think critically about themselves and their nation. With these points in mind, show how one of Hollywood’s European-centered tourist films uses images of Europe to invite American audiences to weigh up the relative merits of life stateside versus that in Europe.


Hollywood’s relationships to Europe as a market and as subject matter have usually been understood in terms of Americanization – as a powerful overseas US institution imposing an outside culture onto a sovereign territory. However, some scholars have suggested that the voluntary nature of movie-going and the reliance on international revenue has demanded Hollywood make concessions to the perceived tastes of audiences in Europe. With this point in mind, show how a Euro-tailored Hollywood film has been tailored to be marketable and appealing to European audiences.


Due Date: 12:00 CET Noon Friday 19 January 2024 (EXTENDED)


All Essays are to be submitted in PDF or word format to the corresponding Turnitin submission portal on the course Moodle site.


Penalties for Late Submission of Work


Students should be aware that the following penalties may be imposed for late submission, unless their are grounds for medical or compassionate exceptions.


On the day following the due date - 5 marks out of 100 deducted

On the 2nd day following the due to date - 10 marks out of 100 deducted

On the 3rd day following the due date - 15 marks out of 100 deducted

On the 4th day following the due date - 20 marks out of 100 deducted

After the 4th day following the due date - all marks deducted



All students are invited to arrange one-on-one meetings to discuss assignments and/or any issues arising from the course. Meetings can be arranged by email and will take place over zoom. Naturally, if students feel matters can be handled by email, they should be aware of the fact that a response is guaranteed within twenty-four hours of receipt.



Each student will be emailed individually with detailed personal feedback on each of their paper. This feedback is designed to be constructive so will spotlight strengths, shortcomings, and potential alternative approaches.


Plagiarism Information


It is the duty of every student to ensure that s/he has familiarized him- or herself with the following details pertaining to plagiarism. They are included in English and Czech.


(A) Any use of quoted texts in seminar papers and theses must be acknowledged. Such use must meet the following conditions: (1) the beginning and end of the quoted passage must be shown with quotation marks; (2) when quoting from periodicals or books, the name(s) of author(s), book or article titles,  the year of publication, and page from which the passage is quoted  must all be stated in footnotes or endnotes; (3) internet sourcing must include a full web address where the text can be found as well as the date the web page was visited by the author.


(B) In case the use of any texts other than those written by the author is established without proper acknowledgement as defined in (A), the paper or thesis will be deemed plagiarized and handed over to the Disciplinary Commission of the Faculty of Social Sciences. 


(A) Použití veškerých citovaných textů v seminárních a kvalifikačních pracích musí splňovat tyto podmínky: (1) začátek a konec citované pasáže musí být opatřeny uvozovkami; (2) citujeme-li z periodik či knih, je nutno uvést - zpravidla v poznámce pod čarou nebo vysvětlivce - autora, název díla, rok vydání a stránku, z níž je citováno; (3) v případě citací z internetových zdrojů je nutno uvést full internetovou adresu, na níž lze citovaný text dohledat, a datum návštěvy internetové stránky.


(B) Pokud budou v uvedených pracích zjištěny přejaté texty bez výše uvedených náležitostí, bude práce považována za plagiát a předána Disciplinární komisi FSV UK. 


Grading/Evaluation:  Grades from A-4 F will be awarded based on the following criteria.









Insightful, vigorous, and demonstrating considerable depth of understanding and a significant amount of original thought; addressing prompt directly through a wholly coherent synthesis of ideas; demonstrating a degree of mastery over subject; demonstrating a deep and thorough understanding of key concepts.

Full range of set resources consulted; sources employed with significant discrimination and sound judgment; thorough assessment of evidence; use of a broad range of examples.

Near-Faultless typography and layout; near-flawless turns of phrase and expression; sophisticated and precise vocabulary; clear structure; exemplary citation and bibliography.






Perceptive and insightful; some evidence of original thought; for the most part addressing prompt directly; mainly coherent synthesis of ideas; thorough and somewhat critical understanding of key concepts.

A fairly wide range of set resources consulted; solid assessment of evidence; sophisticated use of a fairly broad range of examples.

Very Solid typography and layout; few errors in grammar; mainly sophisticated turns of phrase and expression; mostly clear structure; strong citation and bibliography.






Solid understanding addressed, for the most part, to the prompt; good synthesis of ideas; reasonably solid understanding of key concepts; evidence of gaps in knowledge and some minor misunderstandings of key concepts.

Some sources consulted; evidence of some assessment of evidence; use of mostly workable examples.

Good typography and layout; comprehensible and largely error-free grammar, turns of phrase, and expression; reasonable clearly structured; some attempt to provide citation and bibliography.



60 -


Indirectly addressed to prompt; no real synthesis of ideas; mainly descriptive rather than analytical; patchy understanding of key concepts; significant gaps in knowledge.

Restricted range of sources consulted; superficial understanding of evidence; limited range of examples, many of which are inappropriate.

Poor typography and layout; numerous errors of grammar; limited vocabulary; ambiguous or inaccurate turns of phrase; weak or missing citations and bibliography.


51 –


Barely addressed to the prompt; largely disconnected series of points; poor understanding of key concepts; major gaps in knowledge.

No sources consulted; poor understanding of evidence; few useful examples.

Poor typography and layout; numerous errors of grammar; limited vocabulary; ambiguous or inaccurate turns of phrase; no citations or bibliography.



Not addressed to the prompt; largely incoherent; little evidence of an understanding of key concepts; demonstrating little knowledge of subject.

No sources consulted; poor understanding of evidence; no useful examples.

Poor typography and layout; numerous errors of grammar; limited vocabulary; ambiguous or inaccurate turns of phrase; no citations or bibliography.


No paper submitted; or paper clearly showing no effort to respond to prompt.

 More in SMĚRNICE S_SO_002: Organizace zkouškových termínů, kontrol studia a užívání klasifikace A–F na FSV UK.









































Literatura - angličtina
Poslední úprava: Mgr. Jiřina Tomečková (26.09.2023)


Behlil, Meliz. Hollywood is Everywhere: Global Directors in the Blockbuster Era. Amsterdam: Amsterdam University Press, 2016. Print.

Bordwell, David. “The Art Cinema as a Mode of Film Practice.” The European Cinema Reader. Ed. Catherine Fowler. London: Routledge, 2002: 94–102. Print.

Higson, Andrew. “The Concept of National Cinema.” Screen 30. 1 (1989): 36–46. Print.

Hochsherf, Tobias, and James Ligott. “Working Title Films: From Mid-Atlantic to the Heart of Europe.” Film International 8. 6 (2010): 8–20. Print.

Kramer, Peter. “Hollywood and its Global Audiences: A Comparative Study of the Biggest Box Office Hits in the United States and Outside the Unites States since the 1970s.” Explorations in New Cinema History: Approaches and Case Studies. Eds. Richard Maltby, Daniel Biltereyst, and Philippe Meers. Oxford: Whiley-Blackwell, 2011: 171–184. Print.

Maltby, Richard. Hollywood Cinema: Second edition. London: Blackwell, 2003. Print.

Meers, Philippe. “‘It’s the Language of Film!’ Young Film Audiences on Hollywood and Europe.” Hollywood Abroad: Audiences and Cultural Exchange. Eds. Melvyn Stokes and Richard Maltby. London: BFI, 2004: 158–174. Print.

Negra, Diane, “Romance and/As Tourism: Heritage Whiteness and the (Inter)National Imaginary in the New Woman’s Film.” Keyframes: Popular Cinema and Cultural Studies. Eds. Matthew Tinckom and Amy Villarejo. London: Routledge, 2002: 82–97. Print.

Vanderschelden, Isabelle. “Luc Besson’s Ambition: EuropaCorp as a European Major for the 21st Century.” Studies in European Cinema 5.2 (2008): 91–104. Print.


Artist, The (2011)

Grand Budapest Hotel (2014)

Midnight in Paris (2011)

Leap Year (2010)

Madagascar 3: Europe’s Most Wanted (2012)

Paul (2010)

Taken (2008)

Metody výuky - angličtina
Poslední úprava: Mgr. Jiřina Tomečková (26.09.2023)

This course is scheduled to run as a series of fortnightly lecture/seminars run in-person. These sessions will run from 17:00-20:00, and will include a film screening and a short break. During the sessions, micro-lectures will be delivered on, and students will be invited to engage actively in discussions about, the topics, the films, and the set readings. Preparatory questions are included in SIS and Moodle on all of the readings, to which students are expected to formulate their answers - which we will in turn dicuss during the seminar. These activities are geared to a) facilitating students understandings of the targeted learning outcomes (highlighted in Moodle and SIS) and preparing students for the corresponding assessments. This course will be supported by a moodle site, where all important materials and information relating to the couse can be found.

Please note that if Covid restrictions make it necessary to run this course online, sessions will run fortnightly but 17:00-19:00, with a short break built in. Under these circumstances, students will be expected to watch the set film screenings prior to the sessions, with links to all films provided in SIS and Moodle; and with the set preparatory questions provided in advance.

Whether run as planned as an in-erson course, or if emergency measures mean it will run online, this course is suported both by both a Moodle site and SIS - both of which provide all the files and information students require.

  Course Moodle Enrollement: https://dlcv.cuni.cz/course/index.php?categoryid=148

Sylabus - angličtina
Poslední úprava: Richard Andrew Nowell, Ph.D. (20.11.2023)



Contact: richard_nowell@hotmail.com

Time: Every Second Wednesday 17:00 - 20:00 Central European Time [11 October; 25 October; 8 November; 22 November; 6 December; 20 December] - a ten-minute break will be built into this session.

Location: Room B 216, Jinonice

Follow-up: I am available to talk about anything related to this course following the conclusion of each seminar. I am also available to discuss points at any time by email or on Zoom, with a swift response ensured.

Moodle Registration: Please enrol yourselves on this course's moodle page as soon as possible. Here is the link: https://dlcv.cuni.cz/course/view.php?id=493




Part 1: Hollywood ≠ Europe (?)

The first two sessions will challenge the notion that Hollywood is a solely American institution, and thus distinct from Europe.


Session 1 (11 October)

Hollywood Europe I:

Nation & Culture - or why Hollywood is seen as American               


This session starts to lay a foundation for the remainder of the course, by considering how people have assigned national status tends to cultural artifacts like films. While respecting that this multifaceted phenomena is an important part of film culture, students will be invited to question the various forms of logic that have underpinned it. In so doing, we can begin to move on from asking whether or not certain films are "American" or "Czech", and instead ask how various cultural stake-holders such as filmmakers, marketers, critics, and audiences make use of the notion of such a thing as an "American film" or a "European film". This session will enable us better to understand why Hollywood is - somewhat reductively - considered to be simply an American institution.


Targeted Learning Outcomes

Students are expected to develop a criticial understanding of:

1. The different ways stakeholders assign national status to cultural artefacts like films.

2. the ways filmmakers invite audiences to see their films as examples of national cinema.

3. how we can use these ideas to explain why stakeholders tend to think of Hollywood as American.





1. What THREE ways does Higson suggest cultural products like films were – and are – assigned national status in everyday life?

2. What is the FOURTH “new” way Higson suggests that we might also think about film in terms of national status?


Screening: The Artist (2011)

1. Do you feel you are watching an American film? if so, why? if not, why not?

2. Do you feel you are watching a European film? If so, why? If not, why not?

3. Are you uncomfortable using these categories, if so why? and how do you categorize the film in a different way?



Session 2  (25 October)

Hollywood ≠ Europe II:

Transatlantic Hollywood - or why Hollywood is more than American              


Because the study of Hollywood and Europe involves consideration of cross-border flows, it requires an appreciation of the concept of transnational cinema - a multifaceted notion that relates to who makes movies, what those movies are about, who they address, where they circulate, who actually watches them, and how they are watched. Accordingly, this session considers the ways in which border-crossings expose the limitations of the concept of the national, and how in turn the concept of the transnational opens up new ways of seeing cultural production, cultural products, and reception cultures. In doing so, we will confront a key issue underwriting the course as a whole: Hollywood and Europe are more deeply intertwined than often thought.


Targeted Learning Outcomes

Students are expected to develop a criticial understanding of:

1. how the composition of Hollywood complicates its status as an American institution.

2. how subject matter, themes, and modes of address complicate the American status of Hollywood films.

3. How European consumption of Hollywood output complicates Hollywood’s American status.





Behlil, 27-38.

1. What are the two main ways Behlill approaches a definition of Hollywood?

2. How are the American credentials of Hollywood complicated by the nationalities of the companies and people involved in the institution of Hollywood?


Meers, 158-174

1. What did Meers’ interviewees think about a) Hollywood films, about b) European cinema, and about c) Flemish cinema? 

2. How do their responses complicate the consumption-based approach to national cinema?


Screening: Midnight in Paris (2011)

1. How does this film depict international flows of people, goods, capital, and ideas?

2. What roles does internationally circulating culture play in the lives of the characters?

3. How does the film encourage audiences to view the roles of popular culture – like the film itself - in their own lives?


Part II: Hollywood Cinema vs. European Cinema

Sessions 3 and 4 will challenge the notion that Hollywood's output and that associated with European nations is profoundly different; a notion that rests on the invocation on the one hand of mindless entertainment, and on the other enlightening art.


Session 3   (8 November)          

Hollywood vs. European Cinema I: Hollywood’s Art Cinema                           


This and the following session challenge a deeply rooted distinction that continues to be drawn across Film Studies and Western film cultures: that Hollywood and European Cinema are not just separate but binarily opposed entities. Thus, where Hollywood tends to be characterized as a purveyor formulaic, stupefying trash, European cinema is usually elevated to the status of sophisticated and enlightening Art Cinema. This session does so by considering the institutionalization within Hollywood of Art(y) cinema. By this is meant output that is heavily indebted to celebrated European productions that came to be seen in and beyond American film culture as "European Art Cinema". Students will also focus primarily on the historical dimensions of this part of Hollywood’s repertoire, from the emergence of the post-war Art Cinema and foreign-language market, to the establishment in the early 1980s of Hollywood "classics divisions", through to the institutionalization in Hollywood of boutique or specialty films aimed at an internationally scattered cultural bourgeoisie.


Targeted Learning Outcomes

Students are expected to develop a criticial understanding of:

1. the imagined binaries between Hollywood cinema and “European cinema”

2. the characteristics of the art cinema model usually associated with Europe.

3. the extent to which Hollywood has been involved in handling films that use the “European” art cinema model  




Bordwell, 94-102.


1. What does Bordwell suggest is the general relationship between what he calls “Art Cinema” and “Hollywood cinema”?

2.What does Bordwell suggest are the key characteristics of “Art Cinema”? 


Screening: The Grand Budapest Hotel (2014)

1. How does this film borrow from what Bordwell describes as “European Art Cinema”?

2. How does this film use what we might think of as standard Hollywood conventions?

3. What do you think this film is trying to tell us?

4. Why do you think this film looks the way it does?



Session 4          (22 November)   ZOOM SESSION 12:00-13:50

Join Zoom Meeting

Meeting ID: 837 1385 8532
Passcode: 170647

Hollywood vs. European Cinema II

Mid-Atlanticism and Imperso-Nation         


This session tackles the Hollywood vs. European cinema problematic from a different angle than that taken in the previous session. It challenges this dubious distinction by considering those European-based companies that have specialized in the production of commercially viable fare that is intended as much for Hollywood distributors and US theaters as it is for European eyes. While acknowledging the historical dimensions of such practice, the session focuses on two European firms that are behind some of the most talismanic Hollywood fare of the last decade and a half: the French-based firm EuropaCorp and the UK-based outfit Working Title Pictures. In particular, students will consider the two strategies distinguishing these companies' output, and thus problematizing the Hollywood vs. European cinema divide: "Trans-Atlanticism" and "Imperso-Nation".


Targeted Learning Outcomes

Students are expected to develop a criticial understanding of:

1. how European suppliers of Hollywood complicate the binaries imagined to distinguish Hollywood cinema from European cinema

2. the dynamics and implications of European production houses masking origins on the screen

3. the dynamics and implications of European companies thematizing transatlantic relations in their films





Vanderschelden, 91-104.

1. What is EuropaCorp? 

2. What types of film does Vanderschelden suggest EuropaCorp has specialized in? 

3. How does she suggest these product lines complement each other?


Hochsherf and Ligott, 8-20.

1. What is Working Title Films relationship to Hollywood?

2. What is Working Title’s “Mid-Atlantic” Approach to filmmaking? 

3. What is Working Title’s “Pan-European” Approach to filmmaking?


Home Screening 1:Paul (2011) Available at: https://fbox.to/movie/paul-9m1x/1-1

1. How does Paul exemplify Working Title’s Mid-Atlantic approach to filmmaking?

2. How does the film use allegory to make the point that non-Americans contribute much to Hollywood?

3. How does it suggest these non-American contributors to Hollywood might improve audiences' lives?


Home Screening 2: Taken (2008) Available at: https://fbox.to/movie/taken-z883/1-1

1. What type of American viewers do you think this film was primarily made for?

2. How does the film use genre and references to existing media to distance itself from its European production origins?

3. How does this film use politics to position itself as American-made and appeal to its main target audience?


Part III: Americanization (?)

Sessions 5 and 6 will challenge the notion that Hollywood imposes onto European nations "outside" cultural products which promote the superiority of "American culture"


Session 5 (6 December)              

Americanization I:

US Introspection: Tourist Films              

Central to discussions of Hollywood’s relationships to Europe has been the notion that an American Hollywood uses images of Europe and Europeans to promote the superiority of what are framed as American values, systems, and lifestyles. However, in this session we will complicate such claims by considering the extent to which Hollywood has commodified Europe as a fantasy space capable of enriching or liberating Americans. This tendency is centralized in the Tourist Film, and especially in a production trend that unfolded in the second half of the 1990s (and beyond). This session will look closely at this type of film, and consider whether its images of a pastoral Europe were always used to offer American women fantasies of community, rootedness, and romance, or whether this format was also used to think critically about this very idea.


Targeted Learning Outcomes

Students are expected to develop a criticial understanding of:

1. how angling European subject matter to Americans complicates the Americanization thesis.

2. how and why 1990s women’s tourist films posited Europe as a solution to (some) American women’s problems.

3. how later woman-oriented tourist films invited audiences to think critically about the nature of tourist films themselves.





Negra, 82-97

1. What does Negra suggest were the four major concerns of (some) American women addressed by the 1990s tourist films? 

2. How does she suggest ideas about Europe allowed the films to offer solutions to each of these concerns? 

3. What reasons does Negra give for Hollywood’s embrace of the tourist film model at this time?


Screening: Leap Year (2010)

1. How is the heroine’s life stateside?

2. What does she conclude is lacking in her life back in the US?

3. What does the film suggest Europe – in this case Ireland – can offer her?

4. Are there times when this film seems poised to deviate from tourist film convention?



Session 6 (20 December)                   

Americanization II

Concession-Making: Euro-Friendly Blockbusters


Whether discussed in relation to "Americanization", "Cultural imperialism" or "Globalization", Hollywood’s relationships to Europe often turn on the notion that this supposedly piratical American institution is imposing a uniquely "American culture" onto vulnerable overseas cultural formations, with a view to becoming ever-more powerful economically. However, we will complicate this view by considering the extent to which, at specific historical junctures, Hollywood’s very survival has hinged on its making concessions to certain European markets. Accordingly, this session considers why at certain historical junctures Hollywood places an emphasis on reaching out to major European markets and how this objective shapes the content of some of its output. Heping us to do so, will be tHollywood's twenty-first-century blockbusters; a series of surprisingly political films, many of which were crafted to be specifically marketable and appealing to certain European audiences but in a manner that carefully framed their assumed American credentials.


Targeted Learning Outcomes

Students are expected to develop a criticial understanding of:

1. the limitations of Americanization as an explanatory framework for Hollywood’s European operations.

2. the conditions shaping Hollywood's pursuit of major European markets in the twenty-first-century.

3. the content-tailoring approaches Hollywood used when seeking to make concessions to the perceieved tastes of these markets.




Maltby, 212-217; Kramer,  171-184.

 [Questions apply to both readings]

1. Why did Hollywood place greater emphasis on major international markets in the 1990s and beyond? 

2. What distinguishes these markets from the rest of the world? 

3. How does Kramer suggest we might explain how Hollywood’s courting of certain European markets influences the films themselves? 

4. Do you think that there are any issues with the approaches Kramer is suggesting?


ScreeningMadagascar 3: Europe’s Most Wanted (2012)

1. How do the makers of this film attempt to make it marketable and appealing to Europeans?

2. How do the filmmakers attempt to distance this film from (perceivedly) unpopular aspects of American culture, politics, and identity?

3. What message does this film seem to convey about the nature of Hollywood today?

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