Transnational Screens最新文献_第2页

Sense8: Transcending Television, 超感感官8:超越电视，

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Transnational Screens Pub Date : 2023-06-15 DOI: 10.1080/25785273.2023.2225332

Louise Coopey

引用次数: 0

Greek weird wave: a cinema of biopolitics 希腊怪异浪潮:一部生命政治电影

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Transnational Screens Pub Date : 2023-06-15 DOI: 10.1080/25785273.2023.2225297

Phevos Kallitsis

引用次数: 4

Sinophone becoming in Wong Kar-wai’s in the mood for love (2000) 在王家卫的《花样年华》(2000)中华语的出现

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Transnational Screens Pub Date : 2023-05-16 DOI: 10.1080/25785273.2023.2210909

R. Letteri, Zac Huang

{"title":"Sinophone becoming in Wong Kar-wai’s in the mood for love (2000)","authors":"R. Letteri, Zac Huang","doi":"10.1080/25785273.2023.2210909","DOIUrl":"https://doi.org/10.1080/25785273.2023.2210909","url":null,"abstract":"Abstract Wong Kar-Wai’s In the Mood for Love (2000) tells the story of Mr. Chow and Mrs. Chen, who, in learning that their spouses are engaged in an affair, fall in love themselves. However, in vowing to “never be like them,” Mr. Chow and Mrs. Chen abandon their affections and, by the end of the film, go their separate ways. As many have suggested, In the Mood for Love is as much a melodramatic love story as it is an allegory of Hong Kong’s precarious political situation since the British handover of Hong Kong to China in 1997. But rather than understanding the failure of their relationship in the limited sense of Wong’s representation of the difficulties ahead for Hong Kong’s political reunification with China, we argue that In the Mood for Love should be read as Wong’s portrayal of an opening to a form of life and identity that resists the narrative of Chinese essentialism often purported by the CCP. We explore this potentiality by examining how Mr. Chow and Mrs. Chen’s role-playing of their spouses’ affair, the film’s non-linear sense of time and the continual juxtaposition and confluence of East and West through dress, food, and music function as constructs of Gilles Deleuze’s crystal image. We further contend that the film’s repeated use of the crystal image suggests a Deleuzian reading of the potential processes of deterritorialization and, what we call, Sinophone becoming for both individuals and communities that constitute the Chinese diaspora.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"135 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-05-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79527737","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

Of bodies and politics: towards a body of work in the documentaries of Raja Amari 身体与政治:拉贾·阿马里纪录片中的一组作品

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Transnational Screens Pub Date : 2023-05-04 DOI: 10.1080/25785273.2023.2231780

Stefanie Van de Peer

{"title":"Of bodies and politics: towards a body of work in the documentaries of Raja Amari","authors":"Stefanie Van de Peer","doi":"10.1080/25785273.2023.2231780","DOIUrl":"https://doi.org/10.1080/25785273.2023.2231780","url":null,"abstract":"ABSTRACT Raja Amari is best known for her fiction features Red Satin (2002), Buried Secrets (2009) and Foreign Body (2016), in which she dissects the mythologisation of mother and daughter relationships by underlining difficult communication and co-dependence. Her less well-known documentaries Seekers of Oblivion (2004) and She Had a Dream (2020) likewise explore the bonds between women of different generations and across geographical, religious and political borders. In this article, I investigate Amari’s transnational documentary strategies that foreground the multitude of women’s voices, storytelling strategies, performative identity formation, and female agency. These two documentaries focus on the body of work of extra-ordinary women, who force us into an analytical engagement with diverse voices and politics. The documentaries offer insight into the gendered, racial and generational boundaries that are constantly crossed by two young women who lived more than a century apart. This leads to the article’s central argument that transnational documentary studies offer an opportunity to realign transnational screen studies with its subject, the transnational human experience.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"40 1","pages":"145 - 163"},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72531732","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

Arab women’s transnational cinema’s ‘flips’: The Man Who Sold His Skin (Ben Hania, 2021) 阿拉伯女性跨国电影的“翻转”:卖皮肤的男人(本·哈尼亚，2021)

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Transnational Screens Pub Date : 2023-05-04 DOI: 10.1080/25785273.2023.2231778

Florence Martin

引用次数: 0

‘I am them and they are me’: the transnational body as collective in Iranian women’s cinema “我是他们，他们是我”:伊朗女性电影中的跨国集体身体

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Transnational Screens Pub Date : 2023-05-04 DOI: 10.1080/25785273.2023.2231776

Z. Khosroshahi

引用次数: 0

A woman should be scared: maternal ambivalence in Under the Shadow 女人应该害怕:《阴影之下》中母性的矛盾心理

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Transnational Screens Pub Date : 2023-05-04 DOI: 10.1080/25785273.2023.2231779

Sara Saljoughi

引用次数: 0

West as home in Ruba Nadda’s films 西部是鲁巴·纳达电影的故乡

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Transnational Screens Pub Date : 2023-05-04 DOI: 10.1080/25785273.2023.2231777

May Telmissany

{"title":"West as home in Ruba Nadda’s films","authors":"May Telmissany","doi":"10.1080/25785273.2023.2231777","DOIUrl":"https://doi.org/10.1080/25785273.2023.2231777","url":null,"abstract":"ABSTRACT In this essay, I draw on the concepts of accented/transnational cinemas to discuss four feature films directed by Canadian Syrian filmmaker and TV director Ruba Nadda. Through Sabah (2005); Cairo Time (2009); Inescapable (2012); and October Gale (2014), the viewers witness the reconstruction of the West as home from the standpoint of a Canadian-born Toronto-based woman filmmaker of Arab descent. Despite Nadda’s constant yearning to her Arab origins, one can claim that borders between Arab and non-Arab are not always blurred in her films. Instead, cultural bridges are built across borders to transcend the traditional poetics of exile/immigration and to overcome politics of cultural despair triggered by binaries such as East and West, homeland and hostland, national and transnational belonging, etc. By focusing on issues of homeness, integration, religious difference, and cultural recognition, on the one hand, and questions of home-returning and home-reconstruction, on the other hand, I argue that no matter where Nadda’s characters dwell, they belong to the Western set of values, and they represent each a facet of her multiple identities, chief among them Western individuality. I also investigate the filmmaker’s gender-based approach to mainstream cinematic genres such as romantic comedy and thriller and her interest in these genres as a TV director as well.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"25 1","pages":"103 - 116"},"PeriodicalIF":0.2,"publicationDate":"2023-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"83981765","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

Introduction: Transnational feminist approaches to film and media from the Middle East and North Africa 导论:中东和北非电影和媒体的跨国女权主义方法

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Transnational Screens Pub Date : 2023-05-04 DOI: 10.1080/25785273.2023.2231775

Z. Khosroshahi, Sara Saljoughi

引用次数: 0

The FIRST international film festival and its operation under the COVID-19 pandemic: an interview with Wen Song and Yinglong Tong 新冠肺炎疫情下的FIRST国际电影节及其运作——宋文童应龙访谈

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Transnational Screens Pub Date : 2023-03-23 DOI: 10.1080/25785273.2023.2192110

Qi Ai, Liao Zhang

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引用次数: 0