World Cinemas, Transnational Perspectives
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Námskeið
- KVI208G Samtímakvikmyndir.
Ensk lýsing:
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.
Lýsing:
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.
Annað
- Höfundur: Nataša Durovicová
- Útgáfa:1
- Útgáfudagur: 2009-09-10
- Blaðsíður: 384
- Hægt að prenta út 2 bls.
- Hægt að afrita 2 bls.
- Format:ePub
- ISBN 13: 9781135869977
- Print ISBN: 9780415976541
- ISBN 10: 1135869979
Efnisyfirlit
- contents
- preface
- acknowledgments
- part one the geopolitical imaginary of cinema studies
- one notes on transnational film theory
- disciplinary assumptions
- the constitution of texts and societies “prerequisite to any subject [positions] whatsoever”
- international film history, transnational film theory
- notes
- two on the plurality of cinematic transnationalism
- a typology of cinematic transnationalisms
- epiphanic transnationalism
- affinitive transnationalism
- milieu-building transnationalism
- opportunistic transnationalism
- cosmopolitan transnationalism
- globalizing transnationalism
- auteurist transnationalism
- modernizing transnationalism
- experimental transnationalism27
- notes
- a typology of cinematic transnationalisms
- three tracking “global media” in the outposts of globalization
- rerouting media circuits
- beyond exceptionalism and multiculturalism
- globalization, imagination and the politics of circulation
- between china and india
- notes
- four time zones and jetlag
- preamble: cinema out of step with itself
- the cosmopolitan phase
- the national phase
- the federated phase
- the world cinema phase
- from world cinema to global cinema
- epilogue: saving cinema
- notes
- five vector, flow, zone
- cinema as place, space, soundscape
- translatio
- language, state, scale
- translatio without translation: versions and polylinguals
- translatio via supplement: dubbing versus subtitling
- translatio in a zero-degree zone
- translatio in the age of digital transfer
- space/region/zone/edition: rescaling the image world
- zone as region: menu as map
- notes
- cinema as place, space, soundscape
- one notes on transnational film theory
- six chinese cinema and transnational film studies
- reproblematizing national cinema
- reconceptualizing chinese cinema
- refashioning transnational studies
- notes
- seven national cinema abroad
- mexican cinema in gringolandia
- marketing
- distribution
- exhibition
- festivals
- television
- video/dvd
- internet
- conclusion
- notes
- mexican cinema in gringolandia
- eight aural identity, genealogies of sound technologies, and hispanic transnationality on screen
- the film hispano
- the gardel phenomenon and transnational sound in the 1930s
- refining the transnational model: mexican ranchera film
- the competitive politics of cultural identification in the 1940s
- the political afterlife of popular latin american musical traditions
- notes
- nine how movies move
- off the map: searching for the afterlife of movies
- moving between: between bulawayo and hong kong
- so that’s how we started
- films “full of sex and ghosts and monsters”
- the b circuit
- painted flour sacks made in ghana and shaolin tennis shoes made in mexico
- violence and memory34
- aesthetics
- ethics
- let us end in africa
- acknowledgments
- notes
- ten the new paradoxes of black africa’s cinemas
- the perennial matter of audiences
- the myth of popular cinema
- the era of suspicion
- a subversive aesthetic
- a new imaginary
- notes
- eleven the transnational other
- acknowledgments
- notes
- twelve fantasy in action
- peirce and indexicality
- hjelmslev
- jakobson
- freud and benjamin
- multiple fantasy registers
- the indexical and the iconic: struggle for hegemony
- fantasies of labor power
- hercules
- bond
- robocop
- notes
- thirteen vernacular modernism
- acknowledgments
- notes
- fourteen globalization and hybridization
- note
- fifteen from playtime to the world
- notes
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- Útgáfuár : 2009
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