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World Cinema: A Critical Introduction [Pehme köide]

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(Arcadia University, USA), (University of Pennsylvania, USA)
  • Formaat: Paperback / softback, 448 pages, kõrgus x laius: 246x174 mm, kaal: 920 g, 13 Line drawings, color; 166 Halftones, color
  • Ilmumisaeg: 09-Feb-2018
  • Kirjastus: Routledge
  • ISBN-10: 0415783577
  • ISBN-13: 9780415783576
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World Cinema: A Critical IntroductionSuurem pilt
  • Formaat: Paperback / softback, 448 pages, kõrgus x laius: 246x174 mm, kaal: 920 g, 13 Line drawings, color; 166 Halftones, color
  • Ilmumisaeg: 09-Feb-2018
  • Kirjastus: Routledge
  • ISBN-10: 0415783577
  • ISBN-13: 9780415783576
Teised raamatud teemal:
Teised raamatud sellest sooduspakkumisest: Taylor & Francis humanitaariaraamatud International Student Editions hindadega
Püsilink: https://www.kriso.ee/db/9780415783576.html
Märksõnad:
World Cinema: A Critical Introduction is a comprehensive yet accessible guide to film industries across the globe. From the 1980s onwards, new technologies and increased globalization have radically altered the landscape in which films are distributed and exhibited. Films are made from the large-scale industries of India, Hollywood, and Asia, to the small productions in Bhutan and Morocco. They are seen in multiplexes, palatial art cinemas in Cannes, traveling theatres in rural India, and on millions of hand-held mobile screens.

Authors Deshpande and Mazaj have developed a method of charting this new world cinema that makes room for divergent perspectives, traditions, and positions, while also revealing their interconnectedness and relationships of meaning. In doing so, they bring together a broad range of issues and examplestheoretical concepts, viewing and production practices, film festivals, large industries such as Nollywood and Bollywood, and smaller and emerging film culturesinto a systemic yet flexible map of world cinema.

The multi-layered approach of this book aims to do justice to the depth, dynamism, and complexity of the phenomenon of world cinema. For students looking to films outside of their immediate context, this book offers a blueprint that will enable them to transform a casual encounter with a film into a systematic inquiry into world cinema.

Arvustused

"Loaded with information about the circuits of production and consumption that make up this vast and tangled cultural assemblage, World Cinema: A Critical Introduction deftly maps five prominent nodes of the world cinema network in relation to several significant transnational, regional, and smaller cinematic clusters. Indispensable reading for students of film studies, World Cinema is a rich and engaging introduction to the sphere of world cinema."

Carmela Garritano, Associate Professor, Texas A&M University

"Shekhar Deshpande and Meta Mazajs World Cinema: A Critical Introduction offers an extremely thorough, insightful, and multidimensional analysis of the current state of World Cinema and World Cinema Studies in all their aspects historical aesthetic, authorial, industrial, and spectatorial. The book constitutes a stupendous achievement -- dense well-researched, well-written and replete with mini-essays on a huge variety of subjects."

Robert Stam, University Professor, New York University

List of illustrations
xi
Acknowledgements xix
Introduction 1(14)
The contemporary moment
4(2)
Polycentric world cinema
6(3)
Polymorphic world cinema
9(1)
Polyvalent world cinema
10(1)
Teaching world cinema
11(4)
1 What is world cinema?
15(22)
The antecedents: world literature and world music
15(3)
International, foreign, global, or world cinema
18(3)
Hollywood is not world cinema
21(2)
Polycentric, polymorphic, and polyvalent world cinema
23(7)
Polycentric world cinema
25(2)
Polymorphic world cinema
27(1)
Polyvalent world cinema
28(2)
What world cinema is: from watching films to mapping cinema
30(7)
2 Watching world cinema
37(38)
Watching films in theaters
38(3)
The rise of the multiplex
41(3)
Art house cinemas
44(4)
Film societies, cine clubs, touring theaters
48(3)
Mobile media: VHS, VCD, DVD
51(2)
In focus 2.1 Piracy
53(3)
Home viewing, streaming, video on demand, and mobile screens
56(6)
Home viewing
56(2)
Netflix and the culture of streaming films
58(1)
The long tail
59(1)
YouTube
60(2)
In focus 2.2 Translation, subtitles, dubbing
62(4)
Digital projection in theaters
66(9)
3 Film production and finance
75(30)
Hollywood's interventions
77(2)
European production models
79(5)
Forms of private funding
80(1)
Public funding and state support
81(3)
Asian production models
84(10)
China
84(3)
Hong Kong
87(2)
Japan
89(2)
South Korea
91(3)
Indian production models
94(3)
Nigerian cinema/Nollywood
97(2)
Other models of production
99(6)
Co-production funds
99(1)
Film festivals' production funds
100(1)
Individual production of films
101(4)
4 Film festivals and world cinema
105(30)
Film festivals and national cinema
107(1)
Film festivals and art cinema
108(1)
Film festivals and world cinema
109(8)
Global networks
111(2)
A festival film? Producing the genre of world cinema
113(4)
In focus 4.1 Discovering Iranian cinema
117(3)
In focus 4.2 The creation of the Romanian New Wave
120(3)
Digital delivery and the creation of global film culture
123(2)
The importance of smaller and regional film festivals: the Sarajevo Film Festival
125(10)
5 Indian cinema and Bollywood
135(40)
Bollywood: what is in a name?
135(5)
Indian cinema's spheres of influence
140(8)
Influence of Indian cinema on non-Indian audiences
141(3)
Indian cinema and the diaspora
144(4)
Indian cinema after Bollywoodization
148(5)
From family dramas to blockbusters
148(3)
Hindi mainstream cinema after Bollywood
151(2)
In focus 5.1 Rajkumar Hirani and Ram Gopal Varma: mavericks transform the mainstream
153(4)
Cinemas of multiple languages
156(1)
In focus 5.2 Mani Ratnam: negotiating the local and the national
157(6)
Other examples of language cinemas
159(1)
The cinema of new social realism
160(3)
In focus 5.3 New and bold currents in Indian cinema: Liar's Dice (2014), Asha Jaoar Majhe/Labor of Love (2014), and Qissa: The Tale of a Lonely Ghost (2013)
163(4)
Indian theoretical perspectives
167(8)
Looking, frontality, and framing
168(2)
Aesthetics of affect
170(1)
Forms of narrative/storytelling
170(5)
6 African cinema and Nollywood
175(50)
Nollywood: what is in a name?
176(3)
African cinema and Nollywood
177(2)
Understanding Nollywood
179(13)
Production of video-films
180(2)
Spectatorship
182(3)
Ethnicity and languages
185(1)
Postcolony and the spectral
186(1)
Commodity and religious imaginary
187(3)
Narrative form and aesthetics
190(2)
In focus 6.1 Living in Bondage (Chris Obi Rapu, 1992/1993)
192(2)
The New Nollywood
194(1)
In focus 6.2 New Nollywood auteurs: Tunde Kelani, Kunle Afolayan, and Obi Emelonye
195(6)
Nollywood's sphere of influence
201(5)
Nollywood, Africa, and African cinema
201(2)
Nollywood and video-film industries within Africa
203(1)
Nollywood in the global diaspora
204(1)
The influence of Nollywood's production style
205(1)
Nollywood and world cinema
206(4)
The popular and pleasure in world cinema and Nollywood
209(1)
In focus 6.3 Bamako (2006): a mise-en-scene of Nollywood, African cinema, and world cinema
210(5)
African theoretical perspectives
215(10)
7 Asian cinema
225(88)
Asia, regionalization, and Asian cinema
225(11)
The emergence of Asian cinema as a film market
227(3)
Asian cinema and film festivals
230(2)
Asian cinema as a scholarly discourse
232(1)
Asian cinema, geography, and critical regionalism
233(1)
Inter-Asian and trans-Asian cinemas
234(2)
Inter-Asian cultural sphere
236(3)
Korea's Hallyu
236(2)
Kawaii culture: Japan's (re-)entry into Asian regionalization
238(1)
Categories of inter-Asian cinemas
239(4)
Co-production
239(3)
Pan-Asian cinema
242(1)
In focus 7.1 Pan-Asianism in Chen Kaige's Wu ji/The Promise (2005) and Peter Chan's Ru guo · Ai/Perhaps Love (2005)
243(3)
Regional blockbusters
246(9)
The localism of inter-Asian cinema
255(8)
Localism in Korean independent cinema
256(2)
Localism in Hong Kong
258(2)
Localism in Mainland China
260(3)
In focus 7.2 Between Fifth and Sixth Generation: Zhang Yimou and mediated realism in Not One Less (1999)
263(6)
In focus 7.3 Localism of the Sixth Generation: Beijing Bastards, Beijing Bicycle, and Suzhou River
269(6)
In focus 7.4 Interrogative localism in Jia Zhangke's Still Life (2006)
275(7)
Trans-Asian cinema
282(9)
Popular cinema, blockbusters, and Hollywood
283(5)
Trans-Asian art cinema: the adventures of film form
288(3)
In focus 7.5 Trans-Asian art cinema: Hong Sang-soo and Hou Hsiao-hsien
291(5)
In focus 7.6 What time is it in world cinema? Tsai Ming-liang and What Time Is It There? (2001)
296(5)
Asian theoretical perspectives
301(12)
8 National formations
313(40)
National cinema
313(5)
In focus 8.1 New Turkish cinema
318(4)
In focus 8.2 New Argentine cinema
322(7)
Small and peripheral cinemas
329(4)
In focus 8.3 The politics of visibility in Palestinian cinema
333(7)
In focus 8.4 Slovenian cinema as small cinema
340(13)
9 Transnational formations
353(64)
Transnational cinema
353(5)
In focus 9.1 The transnational cinema of Ang Lee
358(6)
In focus 9.2 The transnational cinema of Alejandro Gonzalez Inarritu
364(8)
Diasporic and postcolonial cinema
372(5)
In focus 9.3 Chinese diasporic cinema
377(3)
In focus 9.4 Indian diasporic cinema
380(6)
In focus 9.5 European migratory cinema: undoing diasporas
386(6)
Transnational women's cinema
392(5)
In focus 9.6 Women's anthology films: Breakfast, Lunch, Dinner (2011)
397(5)
In focus 9.7 Transnational Balkan women directors: Aida Begic's Djeca/Children of Sarajevo (2012)
402(15)
10 Polyvalent world cinema
417(15)
Cognitive mapping
421(3)
Worldliness
424(2)
Worlding/world-making
426(6)
Index 432
Shekhar Deshpande is Professor and Founding Chair of Media and Communication Department at Arcadia University, where he held Frank and Evelyn Steinbrucker Endowed Chair from 2005-2008. His writings have appeared in Senses of Cinema, Studies in European Cinema, Film International, Seminar and Widescreen. He is the author of the forthcoming Anthology Film and World Cinema.









Meta Mazaj is Senior Lecturer in Cinema and Media Studies at the University of Pennsylvania. Her articles have appeared in Cineaste, Studies in Eastern European Cinema, and Situations: Project of the Radical Imagination. She is the author of National and Cynicism in the Post 1990s Balkan Cinema (2008), and co-editor, with Timothy Corrigan and Patricia White, of Critical Visions in Film Theory: Classic and Contemporary Readings (2010).