Transnational Screens最新文献_第5页

Borders and migration in Urszula Antoniak’s Pomiędzy słowami/Beyond Words (2017) 乌尔苏拉·安东尼亚克的《Pomiędzy słowami/Beyond Words》中的边界与移民

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Transnational Screens Pub Date : 2022-01-02 DOI: 10.1080/25785273.2022.2044248

J. Zelechowski

引用次数: 0

Dancing across European and Latin-American Borders: Pili and Mili’s transnational musical films of the 1960s 跨越欧洲和拉丁美洲边界的舞蹈:Pili和Mili在20世纪60年代的跨国音乐电影

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Transnational Screens Pub Date : 2022-01-02 DOI: 10.1080/25785273.2022.2064087

Santiago Lomas Martínez

{"title":"Dancing across European and Latin-American Borders: Pili and Mili’s transnational musical films of the 1960s","authors":"Santiago Lomas Martínez","doi":"10.1080/25785273.2022.2064087","DOIUrl":"https://doi.org/10.1080/25785273.2022.2064087","url":null,"abstract":"ABSTRACT Pili and Mili were two of the most important musical stars in Hispanic cinemas during the 1960s. They were twins and starred in ten films, from 1963 to 1970, that made them internationally famous. Discovered by powerful Spanish producer Benito Perojo, their stardom was developed mainly in co-productions with different European and Latin-American countries, especially Mexico. This article aims to rediscover Pili and Mili’s films as one of the most important transnational film cycles devoted to musical stars in Hispanic film markets during the 1960s. It pays attention to the distinctive features that their films proposed with respect to others featuring contemporary stars: Pili and Mili hardly sang and did not release music records, but presented themselves mainly as extremely adaptable dancers; moreover, instead of being strongly attached to certain music styles, they constantly demonstrated a transnational versatility in their movies. Transnational mobility, the performance of non-Spanish characters and hybridisations with other transnational film genres of the 1960s, among other transnational dimensions, are also analysed in their films.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2022-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88582927","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: 1

Notice of duplicate publication: The battle of Algiers 复印公告:阿尔及尔战役

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Transnational Screens Pub Date : 2022-01-02 DOI: 10.1080/25785273.2022.2066898

引用次数: 0

Notice of duplicate publication: Vitalina’s (in)visibility: contemporary Portugal and the cinema of human mobility 复刊通知:维塔利纳的可见度:当代葡萄牙和人类流动的电影

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Transnational Screens Pub Date : 2022-01-02 DOI: 10.1080/25785273.2022.2066852

引用次数: 0

(Un)Familiar Spaces: paris in Outside the Law (2010) and Free Men (2011) 熟悉的空间:《法外之人》(2010)和《自由人》(2011)中的巴黎

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Transnational Screens Pub Date : 2021-09-02 DOI: 10.1080/25785273.2021.2012936

Alexander H. Hastie

{"title":"(Un)Familiar Spaces: paris in Outside the Law (2010) and Free Men (2011)","authors":"Alexander H. Hastie","doi":"10.1080/25785273.2021.2012936","DOIUrl":"https://doi.org/10.1080/25785273.2021.2012936","url":null,"abstract":"ABSTRACT The Hollywood-inspired Maghrebi-French films Outside the Law (Bouchareb, 2010) and Free Men (Ferroukhi, 2011) narrate geographies of exclusion and belonging in Paris, France during the Algerian War of Independence (1954–1962) and World War Two (1939–1945) respectively. The films employ space and spatial metaphors to articulate and insist on the place of Maghrebi-French people in France. In doing so, they work to disrupt dominant imaginaries of Paris, whilst also revealing the possibilities for resistance in the city as seen from the point-of-view of North-African immigrants. The films are a significant part of a cultural and commercial ‘shift’ toward more mainstream filmmaking in Maghrebi-French cinema. Through reading some of the spaces in the films, this paper interrogates the ways in which they map new geographies of a (post)colonial Paris reimagined at the intersections of colonialism, beur cinema, and Hollywood. The geographical imaginaries constituted in the films are read as the product of a stylistic aesthetic that helps to locate Maghrebi-French identity beyond the confines of the French banlieue. In doing so, the paper contributes to recent debates around cultural flows and exchanges in transnational cinema by centring the importance of space in the context of an aesthetic shift in Maghrebi-French cinema.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75539418","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

Cinema and the cultural cold war: US diplomacy and the origins of the Asian cinema network 电影与文化冷战:美国外交与亚洲电影网络的起源

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Transnational Screens Pub Date : 2021-09-02 DOI: 10.1080/25785273.2021.1989803

Arezou Zalipour

引用次数: 1

What is transnational Chinese Cinema today? Or, Welcome to the Sinosphere 今天的跨国中国电影是什么?或者，欢迎来到汉语圈

IF 0.2

Transnational Screens Pub Date : 2021-09-02 DOI: 10.1080/25785273.2021.1991644

C. Berry

{"title":"What is transnational Chinese Cinema today? Or, Welcome to the Sinosphere","authors":"C. Berry","doi":"10.1080/25785273.2021.1991644","DOIUrl":"https://doi.org/10.1080/25785273.2021.1991644","url":null,"abstract":"ABSTRACT A decade ago, I wrote a piece called ‘What Is Transnational Cinema? Thinking from the Chinese Situation’. It argued that knowledge is situational and perspectival; what transnational cinema is depends on when and where you are looking from and writing about. It observed and analysed two current phenomena relevant to understanding what Chinese transnational cinema was then: the growth of cross-border Chinese film production involving the People’s Republic, Hong Kong, Taiwan and more, known as ‘Chinese-language cinemas’ (huayu dianying); and the larger phenomenon of globalisation. This article asks what has changed since and proposes ‘cinemas of the Sinosphere’ as an idea to encompass those changes. However, the term refers to two very different phenomena. First, it responds to the higher profile of films that are part of a Chinese cultural sphere but not in a Sinitic language, rendering the idea of ‘Chinese-language cinemas’ inadequate. Second, it acknowledges the re-emergence of the nation-state and what some people call the ‘Second Cold War’ or what I call a ‘Two Globalizations’ phenomenon, and it refers to the cinema of the People’s Republic of China under the conditions of the Belt and Road Initiative and the non-Chinese cinemas that respond to it.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77417740","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

The resilience of popular national cinemas in Europe (Part one) 欧洲流行国家影院的恢复力(上)

IF 0.2

Transnational Screens Pub Date : 2021-09-02 DOI: 10.1080/25785273.2021.1989165

A. Higson

{"title":"The resilience of popular national cinemas in Europe (Part one)","authors":"A. Higson","doi":"10.1080/25785273.2021.1989165","DOIUrl":"https://doi.org/10.1080/25785273.2021.1989165","url":null,"abstract":"ABSTRACT The national has not withered away in the era of globalisation, and national cinemas still persist in various ways, even in the smallest nations. Using data collected for the MeCETES project, this article (the first of two looking at these issues) examines the evidence of popular national cinemas in contemporary Europe (2005–2015). It looks at admissions data for domestic productions, nation by nation, demonstrating that most European countries enjoy a small number of considerable national successes each year. In 2011, for instance, the French production, Intouchables, topped France’s admissions chart (and also did extraordinarily well across Europe). National productions also outranked all other films, including multi-million-dollar Hollywood blockbusters, in Italy, the Netherlands, the UK, Poland and the Czech Republic. The majority of these national successes were small-scale films, with themes, characters or subject-matter that resonated in the country of production. Few of them were co-productions and few travelled successfully across borders. National audiences showed a remarkable commitment to such films, demonstrating that popular national cinema is still a meaningful presence across Europe. The second article (Part Two) will look at some of the strategies deployed to create attractive and repeatable consumer products, the most common being genre. It will then re-visit the concept of national cinema, asking what role it plays in the era of globalisation.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75317892","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

The resilience of popular national cinemas in Europe (Part Two) 欧洲流行国家影院的恢复力(下)

IF 0.2

Transnational Screens Pub Date : 2021-09-02 DOI: 10.1080/25785273.2021.1989166

A. Higson

{"title":"The resilience of popular national cinemas in Europe (Part Two)","authors":"A. Higson","doi":"10.1080/25785273.2021.1989166","DOIUrl":"https://doi.org/10.1080/25785273.2021.1989166","url":null,"abstract":"ABSTRACT This the second of two articles looking at the persistence of popular national cinemas in contemporary Europe. Drawing on research undertaken for the MeCETES project, the first article (Part One) examined admissions data for domestic productions in the period 2005–2015, demonstrating that most European countries enjoy a small number of considerable national successes each year. This second article (Part Two), provides further evidence that the national has not withered away in the era of globalisation, and revisits the concept of national cinema in this context. The majority of the national successes in European countries were small-scale films, with themes, characters or subject-matter that resonated in the country of production, and few of them travelled successfully across borders. Among strategies deployed to create attractive and repeatable consumer products, the most common was genre: most domestically successful national productions were comedies set in the present. Clearly, popular national cinema is still a meaningful presence across Europe, but it provides a different version of the nation to those presented under the auspices of nation-branding. These are two variants of national cinema in the era of the neo-liberal global economy.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91278068","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

Contemporary Balkan cinema: transnational exchanges and global circuits 当代巴尔干电影:跨国交流与全球巡回

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Transnational Screens Pub Date : 2021-09-02 DOI: 10.1080/25785273.2021.2011092

Vesna Lukić

引用次数: 1