The Routledge Companion to World Cinema

The Routledge Companion to World Cinema- Front Cover
The Routledge Companion to World Cinema
Title Page
Copyright Page
Contents
List of illustrations
List of contributors
Acknowledgements
Introduction: The longitude and latitude of World Cinema
Part I: Longitude
Part II: Latitude
References
PART I: Longitude
Chapter 1: The cinematic and the real in contemporary Chinese cinema
Introduction: the cinematic and the real
The Fifth Generation’s landscape of nature: in search of national culture
The Sixth Generation’s mindscape of youth: in defence of individual perception
Independent directors’ ethnoscape of polylocality: in the name of private memory
Conclusion: the real versus realism
References
Chapter 2: Southeast Asian independent cinema: a World Cinema movement
Introduction
A new cinema
A regional cinema
Conclusion
References
Chapter 3: Global intimacy and cultural intoxication: Japanese and Korean film
Introduction
Japan and Korea: global intimacy and the other
The jaw-dropping success of K-film in the twenty-first century
Twenty-first-century diversification
Between “nation branding” and “cultural odorlessness”
Conclusion
Note
References
Chapter 4: Media refashioning: from Nollywood to New Nollywood
Introduction
“New” Nollywood: frameworks
Half of a Yellow Sun (2013): new media/old media
Conclusion
Notes
References
Chapter 5: Framing democracy: film in post-democracy South Africa
Introduction
South Africa turns 21, or “the tunnel at the end of the light”
A democracy “only in frame”
“Born frees” and “independent cinema”
Necktie Youth and “the view from the suburbs”
Conclusion
References
Chapter 6: Brazilian cinema on the global screen
Introduction
Brazilian film and the international festival circuit
Brazilian players and global film production
Brazil and international co-productions
Conclusion
Notes
References
Chapter 7: Transnational filmmaking in South America
Filmmaking in Peru: Madeinusa and The Milk of Sorrow as festival films
Conclusion
References
Chapter 8: Connected in “another way”: repetition, difference and identity in Caribbean cinema
Introduction: defining Caribbean cinema
The Caribbean in cinema
“[A] country without images is a country that does not exist”
Caribbean cinemas as “cinemas of relation”
Conclusion
References
Chapter 9: Women’s (r)evolutions in Mexican cinema
Introduction
Film and the Mexican Revolution
The Golden Years: 1930–1958
Years of rebellion and change: the 1960s and 1970s
Talent among the trash: the 1970s and 1980s
NAFTA and internationalisation: the 1990s and 2000s
Conclusion
Note
References
Chapter 10: Popular cinema/quality television: the audio-visual sector in Spain
Industry, academy, theory
Televisual cinema?
Cinematic TV?
Conclusion
References
Chapter 11: Contemporary Scandinavian cinema: between art and commerce
A Swedish success?
The transnationalism of the present
Further sides of the transnational and migratory coin
Conclusion
References
Chapter 12: British cinemas: critical and historical debates
Introduction
The political economy of the British film industry
British film culture and questions of quality and taste
British cinema and the projection of Britishness
Conclusion
References
Chapter 13: Developments in Eastern European cinemas since 1989
Introduction
The idea of Eastern Europe
The Eastern European mode of production in the 1990s: from state-subsidised to a producer-driven film production system
The persistence of auteurism: Béla Tarr’s cinematic journeys
Migrant Eastern European women behind and in front of the camera
The Romanian New Wave: European cinema, co-productions and film festivals
Conclusion
References
Chapter 14: Cinema at the edges of the European Union: new dynamics in theSouth and the East
Introduction
Cinema in Greece and the European South since the crisis
European enlargement and the Balkans: Romania, Bulgaria and Croatia
Conclusion
References
Chapter 15: The non/industries of film and the Palestinian emergent filmeconomy
World cinema’s binaries
Towards non/industries of film
The case of Palestinian cinema
Independent cinema and the non/industry
Second Intifada cinema
From the news industry to the non/industry of film
Conclusion
References
Chapter 16: Locations and narrative reorientations in Arab cinemas/World Cinema
Introduction
Cultivating desert landscapes
Charting the Arab cinematic world(s)
Situating the Caméra Arabe
Pointing to the future (and to the past): multiplying narratives
References
Chapter 17: The forking paths of Indian cinema: revisiting Hindi films throughtheir regional networks
Introduction
The generic diversity of Indian cinema in the 1920s–1930s
Modernity, New Theatres and the ‘literary mode’: Hindi cinema in Calcutta in the 1930s
The decline of Calcutta studios and the rise of the Bombay brand in the 1950s
The rise and rise of the “Hindi Socials”
The local in the global
Conclusion
References
Chapter 18: American indie film and international art cinema: points ofdistinction and overlap
Introduction
Definitions
Modernism, postmodernism and realism: distinctions and overlaps
Fields of circulation and consumption
References
Chapter 19: Canadian cinema(s)
Introduction
Projecting immigration and settlement
Quota-quickies: Hollywood branch plant production
The National Film Board of Canada
Making Canadian features: the CFDC and Telefilm
Branding Canadian cinema(s)
Canadian screen futures: digital platforms, crossovers and convergences
References
Chapter 20: Conventions, preventions and interventions: Australasian cinemasince the 1970s
Introduction: the case of/for national cinema
Prehistories
Australasian agendas
Principals, pioneers and provocateurs
Funding, “types” and genres
Australasian cinema in the 1990s and 2000s
Conclusion: life/support
References
PART II:Latitude
Chapter 21: Cinemas of citizens and cinemas of sentiment: World Cinema in flux
References
Chapter 22: Transworld cinemas: film-philosophies for world cinemas’ engagementwith world history
Introduction
We don’t need another neologism
Transworld historiography
Film-philosophy after world cinemas
References
Chapter 23: Transnational cinema: mapping a field of study
Introduction
From transnational studies in the social sciences to transnational cinema studies
Conceptual mappings
The present and future of transnational film studies
References
Chapter 24: “Soft power” and shifting patterns of influence in global film culture
Introduction: the changing global film market
Soft power and culture
Hollywood, soft power and national narratives
Film, the BRICS and cultural policy
Conclusion
References
Chapter 25: Realist cinema as World Cinema
Reality between modernity and the digital age
Towards a possible taxonomy of cinematic realism
Realism from non-cinema to the myth of total cinema
Note
References
Chapter 26: Regional cinema: micro-mapping and glocalisation
Vantage points: the national, the transnational and the regional
Defining regional cinema: location, voice and authenticity
Glocalisation: theorising regional cinema
Push and pull: factors influencing regional cinema
From regional to national and back again: historicising regional cinema
Micromapping: studying regional cinemas
References
Chapter 27: Global women’s cinema
Polycentric multiculturalism versus uncentred inclusivity: World Cinema in the twenty-first century
Women’s cinema goes global
Conclusion
References
Chapter 28: Provincialising heterosexuality: queer style, World Cinema
Introduction
Including queer global film and film theory
Queer film style
Queering the international film festival film
The institutional distortion of patriarchy
A “storing house for those ‘clandestine countermemories’”?
Conclusion
Note
References
Chapter 29: Stars across borders: the vexed question of stars’ exportability
Introduction
International, cross-regional and transnational stardom
Exporting French stars
Conclusion
References
Chapter 30: Film fusions: the cult film in World Cinema
Introduction
Historicising cult World Cinema
Exploitation movies
Transglobal cult film
Beyond the neo-colonial
Animation and the influence of manga
Women in cult films
Conclusion
References
Chapter 31: Perpetual motion pictures: Sisyphean burden and the global screenfranchise
Introduction
Approaching global film franchises
“The Myth of Sisyphus”
“Rebooting” the franchise
Conclusion
References
Chapter 32: Screening World Cinema at film festivals: festivalisation and (staged)authenticity
Introduction
Cosmopolitanism and commerce
Discoveries and New Waves
Festivalisation and authenticity
Authenticity
Festival strategy
Staged authenticity
Conclusion
References
Chapter 33: Cinephilia goes global: loving cinema in the post-cinematic age
Introduction
A matter of time: cinephilia’s generational thinking
Global online cultures: technology, consumption and world cinephilia
Writing cinephilic histories
Conclusion
Note
References
Chapter 34: Another (hi)story?: reinvestigating the relationship between cinemaand history
Introduction
Film, history and ideology: symptoms of the European debate
Postmodern history and the loss of the real
The (un-)representability of history
Cinema-history in the new millennium
Images of war from the past and from the present
Conclusion
References
Chapter 35: Archival cinema
Introduction
Idiomatic definitions
Provenance, authentication, falsification
Film history on celluloid
Archival film as artwork
Is there a “digital archival film”?
References
Chapter 36: Digital cinemas
Introduction
The political economy of World Cinema
Digital data in production
Digital cinema and the posthuman condition
Conclusion
References
Chapter 37: Access and power: film distribution, re-intermediation and piracy
World Cinema is circulation
Distribution and power
Disintermediated distribution?
Everything right here, right now: the panacea of piracy?
Disruptive innovators
Conclusion
References
Chapter 38: The emerging global screen ecology of social media entertainment
Introduction
The political economy of online distribution
Social media and the new scarcity
Social media entertainment and the online creator
Content innovation and the vlogger effect
The technological affordances of social media entertainment
Qualitatively different global reach, IP dynamics and monetisation strategy
Looking forward
References
Chapter 39: Remapping World Cinema through audience research
Introduction
Box-office figures: how many people watch World Cinema?
Audience surveys: who does World Cinema appeal to and why?
Focus groups: what do audiences think about World Cinema?
Conclusion
Note
References
Chapter 40: Eyes on the future: World Cinema and transnational capacity building
Introduction
Development strategies: the role of the Danish Centre for Culture and Development (CKU)
Youth and Film Uganda
Transnational capacity building in Kenya, Mali and Burkina Faso
Notes
References
Index