World Cinemas, Transnational PerspectivesNataša Durovicová, Kathleen E. Newman 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. |
Contents
on the plurality of cinematic transnationalism 12 | |
tracking global media in the outposts | |
the flows and phases | |
Other editions - View all
World Cinemas, Transnational Perspectives Natasa Ďurovičová,Kathleen Newman No preview available - 2010 |
Common terms and phrases
aesthetic African African cinema Amakhosi andthe arts Asian asthe atthe audiences Brazilian British Film Institute Bruce Lee Bulawayo bythe Cambridge capital China Chinese cinema Cinemaand circulation contemporary cosmopolitan critical cultural dimension discourse dubbing Duke University Duke University Press Durham economic European fantasy Film Festival film studies film theory film’s filmmakers fromthe Gardel genre geopolitical global Hispanic Hollywood Hong Kong identity industry itis Japanese Kong action kung fu labor labor power language Latin American linguistic London martial melodrama Mexican Cinema Mexico Minneapolis mobile modernist movement multiculturalism musical narrative national cinema nationstate NewYork ofcinema offilm ofthe onthe Paris Pixote political popular production regional representation Routledge Screen Shanghai Shochiku social sound space Spanishlanguage strategy subtitles suchas Taiwan television thatis thatthe theater thefilm theglobal theory tobe tothe traditional transnational transnationalism Universityof Univisión urban Vernacular Modernism withthe wuxia York