Transnational Screens最新文献_第6页

(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":"31 1","pages":"233 - 248"},"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

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

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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":"22 1","pages":"199 - 219"},"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)

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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":"26 1","pages":"220 - 232"},"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

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

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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":"35 1","pages":"183 - 198"},"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

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

Gräns (Border, dir. Ali Abbasi, 2018) and borders: transnational ties, Nordic roots, Swedish knowledge in critical reception Gräns(边界，主任。Ali Abbasi, 2018)和边界:跨国关系，北欧根源，批判性接受中的瑞典知识

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Transnational Screens Pub Date : 2021-05-04 DOI: 10.1080/25785273.2021.1976467

C. Holmlund

引用次数: 0

‘Transnational film, transnational memory? Collective remembrance in recent pan-asian war films’ “跨国电影，跨国记忆?”近代泛亚战争电影中的集体记忆

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Transnational Screens Pub Date : 2021-05-04 DOI: 10.1080/25785273.2021.1957377

A. Weiss

引用次数: 0

The emergence of Japanese film festivals in the Asia-Pacific 1990-2018 1990-2018年日本电影节在亚太地区的兴起

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Transnational Screens Pub Date : 2021-05-04 DOI: 10.1080/25785273.2021.1954844

Teck Fann Goh

{"title":"The emergence of Japanese film festivals in the Asia-Pacific 1990-2018","authors":"Teck Fann Goh","doi":"10.1080/25785273.2021.1954844","DOIUrl":"https://doi.org/10.1080/25785273.2021.1954844","url":null,"abstract":"ABSTRACT This article traces the historical transformations of the Japanese film festivals (JFFs) in the Asia-Pacific, reflecting on the reasons behind their emergence and subsequent expansion. It identifies JFFs as cultural diplomacy film festivals due to the participation of the Japanese government in facilitating the events. By situating the analysis within the global, regional, national and local trends that gave rise to the JFF model, we can better understand the roles these festivals have played in the promotion of national cultures abroad since their inception. Drawing on archival materials, personal interviews with the festival organizers, and institutional documents, this essay will show that the developments of JFFs are influenced by several interconnected discourses including the proliferation of the film festival format globally, changes in Japanese cultural diplomacy, the globalization of Japanese popular culture, and soft power discourse in the region. In engaging with these forces, JFFs evolved from sporadic small-scale film screening events with limited international reach to institutionalized festivals characterized by their growing commercial approach and broader programs.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"4 1","pages":"99 - 114"},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81075353","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

Transnational cultures of Malaysian, Indonesian, Singaporean, and Philippine national cinema 马来西亚、印尼、新加坡、菲律宾国家电影的跨国文化

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Transnational Screens Pub Date : 2021-05-04 DOI: 10.1080/25785273.2021.1962065

Mohd Erman Maharam

{"title":"Transnational cultures of Malaysian, Indonesian, Singaporean, and Philippine national cinema","authors":"Mohd Erman Maharam","doi":"10.1080/25785273.2021.1962065","DOIUrl":"https://doi.org/10.1080/25785273.2021.1962065","url":null,"abstract":"ABSTRACT This article proposes a transnational structure for the examination of films from Malaysia, Singapore, Indonesia, and the Philippines based on the concept of Nusantara as a region characterised by a shared worldview, values, and principles. Particular attention is paid to how films from these countries can be studied based on representation through the use of regional themes and cultural codes. Additionally, this article also examines ‘cultural identity’ from shared history and ancestry, something which the cinemas of the four nations and the surrounding populations have in common. And, rather than just seeing films through the national lens it suggests that ‘critical transnationalism’ justifies looking at how the people of these countries view themselves through film representations and determines how to connect them. There are three themes that may provide an answer to the question of shared cultural identities in films of these countries, first, the concept of ‘tanahair’ which in Malay means ‘homeland’, second, the distinctive regional form of mobility called ‘merantau’ (to go on a journey, to wander) and, third, the degree of ambiguity and perplexity among the inhabitants of borderlands in films. This research found that ‘critical transnationalism’ is a reliable way to avoid the constraint of state-centrism in the discussion of films from these Southeast Asian countries.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"50 1","pages":"134 - 149"},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86202530","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