The Routledge Companion to World Cinema explores and examines a global range of films and filmmakers, their movements and audiences, comparing their cultural, technological and political dynamics, identifying the impulses that constantly reshape the form and function of the cinemas of the world. Each of the forty chapters provides a survey of a topic, explaining why the issue or area is important, and critically discussing the leading views in the area. Designed as a dynamic forum for forty world-leading scholars, this companion contains significant expertise and insight and is dedicated to challenging complacent views of hegemonic film cultures and replacing outmoded ideas about production, distribution and reception. It offers both a survey and an investigation into the condition and activity of contemporary filmmaking worldwide, often challenging long-standing categories and weighted—often politically motivated—value judgements, thereby grounding and aligning the reader in an activity of remapping which is designed to prompt rethinking.
Introduction: The Longitude and Latitude of World Cinema Part I:
Longitude
1. The Cinematic and the Real in Contemporary Chinese Cinema
2.
Southeast Asian Independent Cinema: A World Cinema Movement
3. Global
Intimacy and Cultural Intoxication: Japanese and Korean Film in the
twenty-first century
4. Media Refashioning: From Nollywood to New Nollywood
5. Framing Democracy: Film in Post-democracy South Africa
6. Brazilian Cinema
on the Global Screen
7. Transnational filmmaking in South America
8.
Connected in "Another Way": Repetition, Difference and Identity in Caribbean
Cinema
9. Womens (R)evolutions in Mexican Cinema
10. Popular Cinema/Quality
Television: The Audio-visual Sector in Spain
11. Contemporary Scandinavian
Cinema: between Art and Commerce
12. British Cinemas: Critical and Historical
Debates
13. Developments in Eastern European Cinemas since 1989
14. Cinema at
the Edges of the European Union: New Dynamics in the South and the East
15.
The Non/Industries of Film and the Palestinian Emergent Film Economy
16.
Locations and Narrative Reorientations in Arab Cinemas/World Cinema
17. The
Forking Paths of Indian Cinema: Revisiting Hindi Films through Their Regional
Networks
18. American Indie Film and International Art Cinema: Points of
Distinction and Overlap
19. Canadian Cinema(s)
20. Conventions, Preventions
and Interventions: Australasian Cinema since the 1970s Part II: Latitude
21.
Cinemas of Citizens and Cinemas of Sentiment: World Cinema in Flux
22.
Transworld Cinemas: Film-Philosophies for World Cinemas Engagement with
World History
23. Transnational Cinema: Mapping a Field of Study
24. "Soft
Power" and Shifting Patterns of Influence in Global Film Culture
25. Realist
Cinema as World Cinema
26. Regional Cinema: Micro-Mapping and Glocalisation
27. Global Womens Cinema
28. Provincialising Heterosexuality: Queer Style,
World Cinema
29. Stars across Borders: The Vexed Question of Stars
Exportability
30. Film Fusions: the Cult Film in World Cinema
31. Perpetual
Motion Pictures: Sisyphean Burden and the Global Screen Franchise
32.
Screening World Cinema at Film Festivals: Festivalisation and (Staged)
Authenticity
33. Cinephilia Goes Global: Loving Cinema in the Post-cinematic
Age
34. Another (Hi)story?: Reinvestigating the Relationship between Cinema
and History
35. Archival Cinema
36. Digital Cinemas
37. Access and Power:
Film Distribution, Re-intermediation and Piracy
38. The Emerging Global
Screen Ecology of Social Media Entertainment
39. Remapping World Cinema
through Audience Research
40. Eyes on the Future: World Cinema and
Transnational Capacity Building Index
Rob Stone is Chair of European Cinema and Professor of Film Studies at the University of Birmingham, where he co-directs B-Film: The Birmingham Centre for Film Studies.
Paul Cooke is Centenary Chair of World Cinemas at the University of Leeds and the Director of the Centre for World Cinemas and Digital Cultures.
Stephanie Dennison is Chair of Brazilian Studies and a founding member of the Centre for World Cinemas and Digital Cultures at the University of Leeds.
Alex Marlow-Mann is Lecturer in Italian at the University of Kent.
