by Phil Hoad.
Writing After Hollywood didn’t turn out exactly how I expected. When I pitched the column two years ago, I assumed what happened in the late 90s and noughties would continue: the prolific flow of mainstream hits from beyond Hollywood’s borders, from Ringu to Slumdog Millionaire, that seemed to be making the cinema world more multilateral.
That shift was what I wanted to explore week by week, flitting between countries, as well as examine the effects on Hollywood itself. How it responded to popular film-makers working in their own languages, foreign CGI houses that could match it for quality but beat it on price, audiences that wouldn’t swallow the same US-centric stories; the whole new globalised rubric.
Read the rest of this article from The Guardian.
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