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World Cinemas, Transnational Perspectives Natasa Durovicova

World Cinemas, Transnational Perspectives By Natasa Durovicova

World Cinemas, Transnational Perspectives by Natasa Durovicova

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Summary

The standard analytical category of national cinema has been called into question by the category of the transnational. This work examines the premises and consequences of the coexistence of these two categories and the parameters of historiographical approaches that cross the borders of nation states.

World Cinemas, Transnational Perspectives Summary

World Cinemas, Transnational Perspectives by Natasa Durovicova

SCMS Award Winner Best Edited Collection

The standard analytical category of national cinema has increasingly been called into question by the category of the transnational. This anthology examines the premises and consequences of the coexistence of these two categories and the parameters of historiographical approaches that cross the borders of nation-states. The three sections of World Cinemas, Transnational Perspectives cover the geopolitical imaginary, transnational cinematic institutions, and the uneven flow of words and images.

World Cinemas, Transnational Perspectives Reviews

'this splendid book investigates the ways in whihc cinema operates internationally and interconnectedly.' - Choice

'Many of these essays open new avenues of investigation that will keep scholars busy for a generation.' - Choice


This book is a timely and important contribution toward updating film studies in accordance with the changed context in which the discipline now finds itself. --Transnational Cinemas

The editors of World Cinemas, Transnational Perspectives might well have added 'Cinema in the Age of Transnational Reproduction' as the subtitle of their engaging volume. The contributors parse and elucidate the proliferating typology of emergent national, international, transnational, world, multinational, postnational, paranational, and global cinema practices and theories worldwide. They take into consideration the changing sociopolitical, financial, industrial, technological, and demographic changes that underpin these cinematic developments. The result is a fascinating textual and contextual reader on our current moment of globalization.--Hamid Naficy, Northwestern University, author of An Accented Cinema: Exilic and Diasporic Filmmaking.

This ambitious and intellectually engaging volume succeeds in its aim to rethink the geopolitical imaginary of film studies as a discipline, by reconsidering film historiography beyond the nation-state and focusing instead on a variety of transnational formations. Essays by leading scholars provide not only new theoretical and methodological approaches, but also illuminating case studies and discussions of the comparative process itself, deepening and expanding our understanding of world cinemas in a revised frame of film history. World Cinemas, Transnational Perspectives represents the very best in film scholarship today.--Patrice Petro, University of Wisconsin-Milwaukee, author of Aftershocks of the New: Feminism and Film History

This splendid book investigates the ways in which cinema operates internationally and interconnectedly. Durovicovi and Newman (both, Univ. of Iowa) argue that in the current era of globalization, studying particular national cinemas, particular genres, or narrowly focused theories in isolation no longer makes sense. The volume includes essays on international financing and production, worldwide distribution, audience reception, the interpretation of genres and styles (think kung-fu goes to Bollywood--or to Bulawayo), and the hybridization of theory. This reviewer especially admired Paul Willeman's Fantasy in Action. Many of these essays open new avenues of investigation that will keep scholars busy for a generation. Summing up: Highly recommended. Lower-division undergraduates through faculty and professionals. --W.A. Vincent, Michigan State University

About Natasa Durovicova

Natasa Durovicova is Editor of 91st Meridian, the online journal of the International Writing Program at the University of Iowa. Her scholarship has dealt with the shifting concept of national cinema as a historigraphic category and with the role of language, voice and sound during the interwar years. Her current project bears on translation as a strategy of cognitive mapping of world cinema flows. Most recently, she was Visiting Faculty Member (2003-5) at the MAGIS Spring School [Gardisca, Italy}.
Kathleen E. Newman is Associate Professor of Cinema and Spanish at the University of Iowa. Her research and teaching focuses on Latin American, Chicano, and Spanish cinemas as well as on theoretical question regarding the relation between fictional narrative and politics and the relation between cinema and globalization. She is the author of La violencia deldicurso: elestado autoritario y la novella politicaargentina. Her current book project, Agentine SilentFilm: Feminism, Democracy, and Modernity, is a study of the relation between silent film, early feminist movements and democratization in Argentina in the first three decades of the twentieth century.

Table of Contents

Preface

Part One: The Geopolitical Imaginary of Cinema Studies

1. Transnational Film Theory: Decentered Subjectivity, Decentered Capitalism Kathleen Newman

2. On the Plurality of Cinematic Transnationalism Mette Hjort

3. Tracking Global Media in the Outposts of Globalization Bhaskar Sarkar

4. Time Zones and Jetlag: The Flows and Phases of World Cinema Dudley Andrew

5. Vector, Flow, Zone: Towards a History of Cinematic Translatio Natasa Durovicova

Part Two: Cinema as Transnational Exchange

6. Chinese Cinema and Transnational Film Studies Yingjin Zhang

7. A National Cinema Abroad: From Production to Viewing Toby Miller

8. Aural Identity, Genealogies of Sound Technologies, and Hispanic Transnationality on Screen Marvin D'Lugo

9. How Movies Move (Between Hong Kong and Bulawayo, Between Screen and Stage...) Lesley Stern

10. New Paradoxes of Africa's Cinemas Olivier Barlet

11. The Transnational Other: Street Kids in Contemporary Brazilian Cinema Joao Luiz Vieira

Part Three: Comparative Perspectives

12. Fantasy in Action Paul Willemen

13. Vernacular Modernism: Tracking Cinema on a Global Scale Miriam Hansen

14. Globalization and Hybridization Fredric Jameson

15. From Playtime to The World: The Expansion and Depletion of Space Within Global Economies Jonathan Rosenbaum

Bibliography

Contributors

Index

Additional information

NLS9780415976541
9780415976541
0415976545
World Cinemas, Transnational Perspectives by Natasa Durovicova
Natasa Durovicova
AFI Film Readers
New
Paperback
Taylor & Francis Ltd
2009-09-01
366
N/A
Book picture is for illustrative purposes only, actual binding, cover or edition may vary.
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