Ideological and Aesthetic Overlap in Cinema and National Identity

Abstract

This research aims to study cinema and national identity and explore the overlap of ideology and aesthetics. It discusses the national identity in its relationship with nationalism and imperialism, and how directors, in different locations, adapt their aesthetics to serve the way they present these themes in films. It concluded that post-colonial films dismantle and interleave the aesthetic and thematic continuity and harmony presented in the exclusionary films with an imperialist dimension. If the modernist films have disrupted sin, the unity of the subject, heroism, and the separation between good and evil, and if the postcolonial films affiliated with postmodernism accuse these modernist films of subjectivity, elitism, and non-communicability, the goal remains to communicate the meanings of humiliation caused by the ideology of colonialism and neo-colonialism. This is how postcolonial films manage to interleave the exclusionary film structure twice. They dismantled the themes of classic films based on intersectionality to create a new cinema that believes in relativity towards issues of colonialism, nationalism, identity and resistance.