Transnational Screens最新文献

{"title":"Critical resignation in Latin America: transnational media and young people","authors":"Rodrigo Muñoz-González","doi":"10.1080/25785273.2023.2295171","DOIUrl":"https://doi.org/10.1080/25785273.2023.2295171","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":" 89","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138962204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"“Bardo, or the Mexican digital diaspora”","authors":"Marvin D’Lugo","doi":"10.1080/25785273.2023.2271291","DOIUrl":"https://doi.org/10.1080/25785273.2023.2271291","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"4 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139220591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Taiwan New Cinema at Film Festivals Taiwan New Cinema at Film Festivals , Beth Tsai, 2023, First Edition, Edinburgh, Edinburgh University Press, 192 pp., £85 (hardback), ISBN Hardback: 9781474496919, Ebook (ePub): 9781474496940, Ebook (PDF): 9781474496933, £85 (ePub, Ebook + paperback)","authors":"Maria O’Brien","doi":"10.1080/25785273.2023.2286068","DOIUrl":"https://doi.org/10.1080/25785273.2023.2286068","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"77 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139235624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Brief encounter: Matt Damon in Marseille","authors":"María Del Mar Azcona, Celestino Deleyto","doi":"10.1080/25785273.2023.2260240","DOIUrl":"https://doi.org/10.1080/25785273.2023.2260240","url":null,"abstract":"ABSTRACTStillwater McCarthy (2021) brings together Matt Damon, a Hollywood star with cosmopolitan credentials, and Marseille, a crucible of civilizations often described as a cosmopolitan city. Damon plays Bill Baker, an Oklahoman redneck who must travel regularly to Marseille to visit his daughter in jail. For Bill, a character from a small, quiet mid-U.S. town, Marseille is all excess and opacity, almost impossible to navigate. Large parts of the film are spoken in French, a language that the protagonist neither speaks nor understands.This article uses a cosmopolitan perspective to explore the consequences of the encounter between the Hollywood star and the European city. As will be argued, the ambivalent cosmopolitanism of both Damon’s star persona and Marseille converge in an irresistible but ultimately impossible way. This article explores the dynamics between these two drives by means of a spatial perspective that sheds some light on the multiplying facets of cosmopolitanism in contemporary cinema, including mainstream cinema, and highlights the fraught interface between cosmopolitanism as a utopian ethical aspiration and political agenda, on the one hand, and an everyday reality, on the other.KEYWORDS: Matt DamonMarseillecosmopolitanismstar studiescinematic spaceEuropean cities AcknowledgmentsJulie Assouly, Sébastien Lefait, Vincent GeisserDisclosure statementNo potential conflict of interest was reported by the author(s).Notes1. We would like to thank Julie Assouly, Sébastien Lefait, Vincent Geisser for their help with our bibliography on the history and society of the city of Marseille.Additional informationFundingThis work was supported by the Ministerio de Ciencia e Innovación [PID2021-123836NB-I00]; Diputación General de Aragón [H23_20R].Notes on contributorsMaría Del Mar AzconaMaría Del Mar Azcona teaches Film Studies and English at the University of Zaragoza. She is the author of The Multi-Protagonist Film (Wiley-Blackwell, 2010) and co-author, with Celestino Deleyto, of Alejandro González Iñárritu (University of Illinois Press, 2010) and of Before Sunrise: Young Love on the Move (Routledge, 2023). Her latest publications include “Don’t Stop Me Now: Mobility and Cosmopolitanism in the Bourne Saga” (Mobilities, 2016), “Matt Damon: A Cosmopolitan Hero for the Mainstream” (Celebrity Studies, 2018), “The Texture of the Age: Digital Construction of Unbounded Space in Birdman” (with Celestino Deleyto, Studies in Spanish and Latin American Cinemas, 2021) and “The Trickster and the Fool: Matt Damon and Comedy” (Quarterly Review of Film and Video, 2022).Celestino DeleytoCelestino Deleyto is Professor of Film Studies and English at the University of Zaragoza. His current research interests are the study of cinematic spaces, social space and real places and the interface between them, particularly in the context of border films and cities, as well as cosmopolitan theory and transnational cinema. His latest publications include Alejandro Gonzál","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136341744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Screening international queer cinema in China","authors":"Ting Guo, Jonathan Evans","doi":"10.1080/25785273.2023.2231754","DOIUrl":"https://doi.org/10.1080/25785273.2023.2231754","url":null,"abstract":"ABSTRACT Given the restricted number of foreign films which can be officially screened in Mainland China and restrictions on the portrayal of LGBTQ+ characters in visual media, international queer cinema tends to be screened at non-theatrical events such as film festivals, film clubs and café screenings. Building on existing work on Chinese film festival studies, this article draws attention to the wider ecosystem of screening practices in China, which engage with international queer film culture through their choice of films and also their mediations of LGBTQ+ cultures. Drawing from ethnographic fieldwork, this article examines how such events navigate language difference through translation, how they engage audiences through discussion or other means, and how they participate in the pink economy. The sorts of negotiation of meaning taking place demonstrate the complexity of transcultural queer cinema practices. The reception of films in translation leads to a notion of queer cinema in China as a cosmopolitan but local activity that contributes to local worldmaking practices.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"33 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81953462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"When walls collapse! Rethinking the sites of memory in Hakim Belabbes’s Collapsed Walls (2022)","authors":"Lidia Peralta García, Lhoussain Simour","doi":"10.1080/25785273.2023.2247657","DOIUrl":"https://doi.org/10.1080/25785273.2023.2247657","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"116 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84774958","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Formalised transnationalism in the informal Nigerian video film industry: streaming, audience re-imaginations and production reconfigurations","authors":"G. Simon","doi":"10.1080/25785273.2023.2232242","DOIUrl":"https://doi.org/10.1080/25785273.2023.2232242","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"54 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88976375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Cultural tolerance and Nusantara Ethnoscape in Southeast Asian cinema","authors":"Mohd Erman Maharam","doi":"10.1080/25785273.2023.2244264","DOIUrl":"https://doi.org/10.1080/25785273.2023.2244264","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"89 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85851291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Transnational dialectics in postwar Japanese crime cinema","authors":"Maxim Tvorun-Dunn","doi":"10.1080/25785273.2023.2232215","DOIUrl":"https://doi.org/10.1080/25785273.2023.2232215","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"29 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-07-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76183830","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Colonial rhetoric in cinema for didactic use from a transnational view. The Italian epic film Cabiria (1914) at the Indian Industrial School of Carlisle","authors":"Leonora Masini","doi":"10.1080/25785273.2023.2228100","DOIUrl":"https://doi.org/10.1080/25785273.2023.2228100","url":null,"abstract":"ABSTRACT The first silent epic Italian film, Cabiria (1914) by Giovanni Pastrone with the screenplay co-written by the director and the poet Gabriele D’Annunzio was used as an educational tool at the Carlisle Indian Industrial School in 1915. The film’s plot unfolds during the Second Punic War (218 to 201 BC). The film’s narrative is pro-empire propaganda for Italy’s recent occupation of Libya (1911–1912). The visual narrative is rich in colonial rhetoric. It shows the viewers the friendship between the enslaved man Maciste, interpreted by a white man wearing blackface, and the Roman soldier and colonizer Fulvio Axilla. This essay analyses the film’s construction of racialized bodies and locates it within the larger context of cultural assimilation through visual technologies applied at the Carlisle school. This analysis focuses on the intermedial imagination of a progressive whitening process in moving pictures, photographs, and lantern slides used at the school.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"62 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76689349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}