Das New York Times Magazine befasst sich in dieser Ausgabe mal wieder komplett mit Filmen, zum Beispiel mit dem Unterschied zwischen ausländischen und amerikanischen Filmen: What is an American Movie Now?

An American entry in this year’s Cannes competition, Shrek 2 continues the animated saga of the lovable, irascible green creature (whose voice is that of the international star Mike Myers doing a Scottish brogue); his bride, the princess; and his faithful donkey (voice by the very funny Eddie Murphy). Shrek 2 has the added bonus of Antonio Banderas, who gives the growing Latin market a chance to cheer for his Puss in Boots. As charming as Shrek 2 is, I found it an unsettling example of how big studios represent the United States to the world. While other countries have interpreted globalism as a chance to reveal their national psyches and circumstances through film, America is more interested in attracting the biggest possible international audience. At Cannes, war-torn Croatia was shown through the eye of the director Emir Kusturica, the French elite was exposed in Look at Me, the fear of female genital mutilation was depicted in Senegal’s Moolaade. And so on. America had a green fantasy creature and Michael Moore, who went on to win the festival’s top prize with his documentary Fahrenheit 9/11.

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When you look at the big international hits of the year, it is easy to understand why the world views America with a certain disgust. Shrek may be a lovable (and Scottish) ogre, but nearly every other global hero in American movies is bellicose, intellectually limited, stuck in ancient times or locked in a sci-fi fantasy. American films used to be an advertisement for life in the states – there was sophistication, depth, the allure of a cool, complex manner. Now most big studio films aren’t interested in America, preferring to depict an invented, imagined world, or one filled with easily recognizable plot devices. “Our movies no longer reflect our culture,” said a top studio executive who did not wish to be identified. “They have become gross, distorted exaggerations. And I think America is growing into those exaggerated images.

My fear is that it’s the tail wagging the dog – we write the part, and then we play the part.”