Dutch Films in the Mid-1930s Dutch Market: A Characteristics Approach to Film Popularity

Clara Pafort Overduin ()
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Clara Pafort Overduin: Utrecht University

A chapter in Towards a Comparative Economic History of Cinema, 1930–1970, 2022, pp 143-183 from Springer

Abstract: Abstract This chapter analyses the relationship between 17 Dutch films produced in 1934 and 1935 and their popularity with Dutch filmgoers. Starting from the concept of cultural nearness and appropriation, I have examined recurring character types, themes, and plot developments, arguing that those can reveal preferences for certain morals and values and thus shed light on aspects of Dutch culture. Audiences better appreciate films in which working-class characters take control over their future. This is especially the case in the movies starring Fientje de la Mar, in which a positive image of a successful, independent, and nonconformist woman is presented. In contrast, a popular male character was clumsy, not too bright, and not very handsome: a goodhearted working-class boy, like those characters played by Johan Kaart. Most plotlines revolve around newly formed romantic couples or married couples. Jealousy is the main obstacle they must overcome. Invariably, the emotional state is resolved by showing that partners were unjustly jealous. Coming from the wrong social class is a recurring obstacle as well. Crossing the borders between social classes to marry is acceptable when the transgressor is open, honest, and not pursuing financial gain. In most films, multiple plot lines show different couples. Movies that depict traditional relations are juxtaposed by highly popular films in which the main female protagonist refuses to commit herself to one man. A considerable amount of humour is created at the expense of bossy women and superior men from upper-class backgrounds. Such characters always come off badly, making it clear that their behaviour is not appreciated.

Date: 2022
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DOI: 10.1007/978-3-031-05770-0_6

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