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Nation and Narration: Rewriting the Field
Beginning of article
"No homeland," suggests T. W. Adorno, "can survive being processed by the films which celebrate it" (236). Yet, in a material sense, homelands can not only survive but prosper by allowing their experience to be represented on film. This allows, for example, a national identity to be promoted in ways that elicit both recognition and good will. There is a price to be paid, however, for manufacturing such "advertisements produced for the world" (Adorno 233) and Adorno identifies this as standardization. Reproducing a commercially successful version of nationality converts a complex, unique character into an "interchangeable sameness," a repertoire of familiar images and gestures that are as …
