Transnational Screens最新文献_第10页

Border aesthetics and catachresis in Ali Abbasi’s Gräns/Border (2018) Ali Abbasi的《Gräns/Border》(2018)中的边界美学与再现

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Transnational Screens Pub Date : 2020-04-02 DOI: 10.1080/25785273.2019.1682229

Meta Mazaj

{"title":"Border aesthetics and catachresis in Ali Abbasi’s Gräns/Border (2018)","authors":"Meta Mazaj","doi":"10.1080/25785273.2019.1682229","DOIUrl":"https://doi.org/10.1080/25785273.2019.1682229","url":null,"abstract":"ABSTRACT Gräns/Border by Iranian-Danish director Ali Abbasi won Un Certain Regard at Cannes as it was proclaimed an ‘instant cult classic’. This paper argues that the ambivalent status of Border – seen as both an audacious genre bender and a social realist film addressing issues of migration – bespeaks its articulation of the borderscape as a catachrestic locus that challenges familiar representational modes in border aesthetics. In doing so, the film, this paper contends, de-structures our perception of alterity, forges a new sensory cognition of the world, and new aesthetic experiences of migratory transitions. Most contemporary films engage migrant and border ecologies through their thematic content, where the border emerges either as a vulnerable space in need of protection or as a hopeful place of politically exciting hybridity and moral possibility. Instead, Border rearticulates generic signifying practices to imagine the border not as spatial ‘fact’ but as an epistemological ground or ‘border effect’ that incites new modes of geopolitical attunement. At stake here is not just a different concept of borders, but the possibility of film form to restructure our sensory perception of the world to offer new figurative possibilities for migratory and border cinema.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"142 1","pages":"34 - 47"},"PeriodicalIF":0.2,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73438521","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}

引用次数: 2

Childhood and nation in contemporary world cinema: borders and encounters 当代世界电影中的童年与民族:边界与相遇

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Transnational Screens Pub Date : 2020-03-18 DOI: 10.1080/25785273.2020.1739378

Danielle E. Hipkins

引用次数: 0

The digital ethical space: towards a transnational documentary ethics, a filmmaker’s point of view 数字伦理空间:走向跨国纪录片伦理，一个电影人的视角

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Transnational Screens Pub Date : 2020-02-28 DOI: 10.1080/25785273.2020.1734305

David Alamouti

{"title":"The digital ethical space: towards a transnational documentary ethics, a filmmaker’s point of view","authors":"David Alamouti","doi":"10.1080/25785273.2020.1734305","DOIUrl":"https://doi.org/10.1080/25785273.2020.1734305","url":null,"abstract":"ABSTRACT Over the last decade the integration of web-based technologies into the film supply chain has accelerated a huge shift in the way documentary films are distributed and exhibited. This shift has seen a move away from the previous analogue systems- built on the exclusivity of time and space- into new convergent and transnational methods based on digital systems. This has (had) huge ramifications for all areas of documentary making, none more so than on the issue of documentary ethics. Above all other forms of film (and filmmaking), ethics is one of the key factors that define and distinguish the documentary film. However, much of the ethical frameworks and discourse currently used are from the previous analogue period of distribution and exhibition. Using the making of a feature documentary as a case study, this article explores how the changes in exhibition and distribution have affected the ethical frameworks that have traditionally informed the making of a documentary. The study concludes by demonstrating how current ethical frameworks and safeguarding procedures, undertaken by both documentary makers but also regulatory bodies, need to be rethought in order to respond to the challenges inherent in this transnational landscape.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"305 1","pages":"103 - 120"},"PeriodicalIF":0.2,"publicationDate":"2020-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77360783","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}

引用次数: 0

Bereft of nature: renegotiating national identity in the films of Rashid Masharawi 失去自然:在拉希德·马沙拉维的电影中重新协商国家身份

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Transnational Screens Pub Date : 2020-02-06 DOI: 10.1080/25785273.2020.1720302

B. Trbic

{"title":"Bereft of nature: renegotiating national identity in the films of Rashid Masharawi","authors":"B. Trbic","doi":"10.1080/25785273.2020.1720302","DOIUrl":"https://doi.org/10.1080/25785273.2020.1720302","url":null,"abstract":"ABSTRACT This essay examines Rashid Masharawi’s transnationally produced films against the backdrop of problematizing the Palestinian relationship with the realm of nature. Grounded in the idea of minor transnationalism, modelled by Françoise Lionnet and Shu-mei Shih, drawing upon the conceptualization of ‘minor literatures’ of Gilles Deleuze and Félix Guattari, and the transnational film theory of Mette Hjort, it focuses on Masharawi’s feature films, Curfew, Haïfa, Ticket to Jerusalem, Laila’s Birthday and Palestine Stereo. Set in and around refugee camps in the Gaza Strip and the West Bank, Masharawi’s ‘minor films’ accentuate the absence of nature from the lives of local individuals and communities, and their disconnections from the realms of natural transcendence. Masharawi affirms his position on cinema as a vehicle for the advancement of modernity, but does not negate or marginalize the ties of Palestinians to their land. Urging his audiences to contemplate the tropes in the national imaginary and the discontinuities from the romanticized narratives of land in the pre-Nakba period, he seeks what Deleuze and Guattari describe as the ‘collective paradigms of political enunciation,’ corresponding to the new modes of subjectivity.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"32 1","pages":"62 - 77"},"PeriodicalIF":0.2,"publicationDate":"2020-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84924062","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}

引用次数: 2

Childhood, animality and emotions in indonesian film director Edwin’s Babi buta yang ingin terbang/Blind Pig Wants to Fly (2008) 印尼电影导演埃德温·布塔·杨金邦/《盲猪想飞》(2008)中的童年、动物和情感

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Transnational Screens Pub Date : 2019-09-02 DOI: 10.1080/25785273.2019.1676547

Maria Elena Indelicato, I. Pražić, Qui Zitong

引用次数: 3

Early screen culture in colonial Hong Kong (1897–1907) 殖民时期香港早期银幕文化(1897-1907)

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Transnational Screens Pub Date : 2019-09-02 DOI: 10.1080/25785273.2019.1684709

E. Yeh

引用次数: 1

Another day at The Office: Huallywood co-productions, verticality, and the project of a comparative film studies 在办公室的另一天:华莱坞的联合制作，垂直和比较电影研究项目

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Transnational Screens Pub Date : 2019-09-02 DOI: 10.1080/25785273.2019.1660066

Olivia Khoo

引用次数: 5

The ‘queer generation’:queer community documentary in contemporary China “酷儿一代”:当代中国的酷儿群体纪录片

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Transnational Screens Pub Date : 2019-09-02 DOI: 10.1080/25785273.2019.1662197

Hongwei Bao

{"title":"The ‘queer generation’:queer community documentary in contemporary China","authors":"Hongwei Bao","doi":"10.1080/25785273.2019.1662197","DOIUrl":"https://doi.org/10.1080/25785273.2019.1662197","url":null,"abstract":"ABSTRACT In this article, I chart a brief history of the queer community documentary in the PRC since the 2000s by introducing its historical conditions of emergence and development. In doing so, I highlight the activist dimension of queer filmmaking and its transnational nature. I focus specifically on the aesthetics and politics, together with modes of production and circulation, of these queer community documentaries. I call the group of filmmakers working around the Beijing Queer Film Festival and the China Queer Film Festival Tour the ‘queer generation’. The ‘queer generation’ filmmakers use documentary films as a tool to engage in political and social activism. Their films and activist practices should be put in a transnational context and seen as part of the transnational screen activism and international queer movements. As these filmmakers documented queer community histories, they also ‘queered’ Chinese documentaries and Chinese film industries at large. Their works represent grassroots, community-based and activist-oriented political engagements in contemporary China; these works also point to the political potential of queerness and documentary films in the world today.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"96 1","pages":"201 - 216"},"PeriodicalIF":0.2,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73618694","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}

引用次数: 5

Introduction: on transnational Chinese cinema(s), hegemony and Huallywood(s) 导论:跨国中国电影、霸权与华莱坞

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Transnational Screens Pub Date : 2019-09-02 DOI: 10.1080/25785273.2019.1681650

D. Fleming, Maria Elena Indelicato

引用次数: 5

Third-culture Huàllywood: or, ‘Chimerica’ the cinematic return 第三文化Huàllywood:或者，“中美国”电影回归

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Transnational Screens Pub Date : 2019-08-27 DOI: 10.1080/25785273.2019.1658932

D. Fleming

{"title":"Third-culture Huàllywood: or, ‘Chimerica’ the cinematic return","authors":"D. Fleming","doi":"10.1080/25785273.2019.1658932","DOIUrl":"https://doi.org/10.1080/25785273.2019.1658932","url":null,"abstract":"ABSTRACT Recognising that ‘Chinese cinema(s)’ have spearheaded calls for a ‘critical transnationalism’ I here take the recent neologism Huallywood on its word—but not its tone—to posit an alternative ‘third culture’ “Hàullywood” (from huà (化) drawing in associations with change and transformation) model that helps us understand the making and marketing of mega-budget and mega-revenue transborder films produced in-between what we might call global Hollywood and transnational Huallywood. Seeing Huallywood as a multi-faceted assemblage, I also harnesses the mythical figure of the chimera as a conceptual guide, which in turn becomes articulated to discussion of a cinematic ‘return’ of the economic behemoth that the historian Niall Ferguson’s and economist Moritz Schularick christened Chimerica. Films such as The Great Wall, and Rogue One: A Star Wars Story serve as illustrative examples of what a Chimerican or Hàullywood cinema looks like today: this being neither Hollywood or Huallywood, but rather composed of bits and pieces of each. By building its critical arguments through a consideration of news texts and cinematic paratexts, this essay also highlights the importance of studying extra-cinematic media commonly threatened by problems of ‘paratextual ephemerality’; which all the same play an important role in producing cinematic discourses.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"89 1","pages":"184 - 200"},"PeriodicalIF":0.2,"publicationDate":"2019-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81232190","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}

引用次数: 4