Transnational Screens最新文献_第8页

Between cultural performance and cultural activism: contemporary documentary film festivals in India 在文化表演与文化行动主义之间:印度当代纪录片电影节

IF 0.2

Transnational Screens Pub Date : 2020-12-01 DOI: 10.1080/25785273.2020.1823076

G. Battaglia

引用次数: 0

The Emergence of China-India Film Co-production: policy and practice 中印合拍电影的兴起:政策与实践

IF 0.2

Transnational Screens Pub Date : 2020-12-01 DOI: 10.1080/25785273.2020.1823074

Yanling Yang

{"title":"The Emergence of China-India Film Co-production: policy and practice","authors":"Yanling Yang","doi":"10.1080/25785273.2020.1823074","DOIUrl":"https://doi.org/10.1080/25785273.2020.1823074","url":null,"abstract":"ABSTRACT This paper examines the recent trend of co-production between China and India since the signing of the Co-production Agreement in 2014 to map out the feature of co-production beyond the West. Drawing on an analysis of the Agreement and policies that were designed to facilitate co-production, interviews with film practitioners, and evaluations of the existing three China-India films Xuan Zang, Kong Fu Yoga and Buddies in India, this paper not only examines the misuse of the term ‘co-production’ but also indicates the politically driven feature of China-India collaboration in practice. This paper argues that co-production has been part of bilateral diplomatic strategy aligning the film industry with China’s statecraft, which provides an alternative perspective beyond the culturally driven and financially driven dimensions of co-production. By mapping out this newly emerging terrain of China-India collaboration, this paper contributes to prevent the vagueness and conflation that the use of the term and practice appears to invite in the discourse of co-production. It also contributes to the current scholarly debates on de-westernization in transnational cinema and Chinese and Indian films and their associated soft power.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"18 1","pages":"202 - 217"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82777616","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

Subalterns and the city: Dubai as cross-cultural caravanserai in City of Life and Pinky Memsaab 副官和城市:迪拜在《生活之城》和《粉红酒店》中的跨文化旅居

IF 0.2

Transnational Screens Pub Date : 2020-12-01 DOI: 10.1080/25785273.2020.1823077

A. Devasundaram

{"title":"Subalterns and the city: Dubai as cross-cultural caravanserai in City of Life and Pinky Memsaab","authors":"A. Devasundaram","doi":"10.1080/25785273.2020.1823077","DOIUrl":"https://doi.org/10.1080/25785273.2020.1823077","url":null,"abstract":"ABSTRACT Within the archetypal vision of Dubai as ostentatious oil-rich global megacity, this essay’s alternative scoping sees a city of interconnected spatio-cultural archipelagos. In these crisscrossing synapses, marginal outsiders can occupy potentially disruptive positions within mainstream power matrices and exclusionary corridors of capitalism. Interrogating a commonly accepted paradigm of subaltern urbanism, I argue that the invariable typecasting of subaltern spaces and association of subaltern demographics with the spatial strictures of urban slums, shanty towns, ghettoes and favelas retrenches the imaginary of the subaltern as excluded abject destined to dwell apart and dislocated from the epicentre of legitimised social, cultural, economic and political activity. Instead, the subaltern presence within mainstream urban ecosystems of power concentration and capital dominance constitutes a chance for dispossessed outsiders to disrupt the legitimised linearity of privileged stakeholders’ entitlement and always-already assumed ‘right to the city‘. I will appraise two films where Dubai is positioned as a site for subaltern Asian disruptors acting as both silent and voluble agents from within elite social structures. British-Emirati director Ali F. Mostafa’s City of Life(2009) and Pakistani filmmaker Shazia Ali Khan’s Pinky Memsaab (2018) harness Dubai as a cosmopolitan canvas where inter-Asian informal and formal modes of lived experience intertwine with heterotopic transglobal textures of the city’s capital-dominated relational grid. Ultimately, this paper demonstrates how subaltern South Asian subjects in exilic global hubs such as Dubai carry potentiality of acting as internal agents, working within capitalism’s mainstream power structures to perform informality as a mode of organic and endogenous resistance.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"20 1","pages":"248 - 265"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91055655","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

Critical trends in transnational cinema: Inter-Asian productions and exchanges 跨国电影的关键趋势:亚洲之间的制作和交流

IF 0.2

Transnational Screens Pub Date : 2020-12-01 DOI: 10.1080/25785273.2020.1823078

Yanling Yang, Clelia Clini, R. K. Dasgupta

引用次数: 2

Is everybody Kung Fu fighting? Indian popular cinema and martial arts films 每个人都练功夫吗?印度流行电影和武侠片

IF 0.2

Transnational Screens Pub Date : 2020-12-01 DOI: 10.1080/25785273.2020.1823075

Clelia Clini

{"title":"Is everybody Kung Fu fighting? Indian popular cinema and martial arts films","authors":"Clelia Clini","doi":"10.1080/25785273.2020.1823075","DOIUrl":"https://doi.org/10.1080/25785273.2020.1823075","url":null,"abstract":"ABSTRACT Hong Kong’s martial arts film have been popular in India since the 1970s (Srinivas 2012, 66) and they have had a profound influence on the Hindi action films of the 1970s-1980s, as martial arts were progressively integrated into their narratives. This article investigates the appeal of Hong Kong martial arts films, and of the figure of Bruce Lee in particular, with specific reference to the social, cultural and political context of reception in India. The context within which Bruce Lee made his entrance on the Indian screens was in fact critical for his success. In particular, the article examines the appeal of martial arts, and their incorporation in the Hindi action films of the 1970s, in relation to (post)colonial discourses of Asian masculinity. Drawing upon Yvonne Tasker’s examination of the ‘anticolonial narrative’ embedded in Hong Kong martial arts films, the analysis discusses the incorporation of a martial arts style of combat within Indian popular films as a response to colonial and orientalist tropes of Asian effeminacy and softness and argues that martial arts allowed the 1970s Hindi action hero to articulate an alternative, anticolonial, version of Asian masculinity.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"12 1","pages":"218 - 232"},"PeriodicalIF":0.2,"publicationDate":"2020-12-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"87084340","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

Post-unification Turkish German cinema: work, globalisation and politics beyond representation 统一后的土耳其-德国电影:作品、全球化和超越表象的政治

IF 0.2

Transnational Screens Pub Date : 2020-10-27 DOI: 10.1080/25785273.2020.1839299

M. Irwin

引用次数: 1

Documentary film festivals vol. 1: methods, history, politics 纪录片电影节第1卷:方法、历史、政治

IF 0.2

Transnational Screens Pub Date : 2020-10-21 DOI: 10.1080/25785273.2020.1839300

Jasper Vanhaelemeesch

引用次数: 0

Repetition and difference in East Asian gothic cinema: the Bunshinsaba film series 东亚哥特电影的重复与差异:本信叶电影系列

IF 0.2

Transnational Screens Pub Date : 2020-09-23 DOI: 10.1080/25785273.2020.1823073

C. Balmain

引用次数: 0

Socially distanced and yet connected: the case of Netflix’s Homemade 社交距离远，但又有联系:Netflix的《自制》(homehome)就是一个例子

IF 0.2

Transnational Screens Pub Date : 2020-09-15 DOI: 10.1080/25785273.2020.1823079

Pablo Méndez Shiff

引用次数: 0

Globalizing ‘a rage that never dies’ (but can’t stay the same): shifting dynamics of identification in the transnational remaking of Ju-On into The Grudge 全球化的“永不消逝的愤怒”(但不能保持不变):在跨国翻拍《朱昂》到《怨恨》的过程中，身份认同的动态变化

IF 0.2

Transnational Screens Pub Date : 2020-08-04 DOI: 10.1080/25785273.2019.1682273

Christopher Jeansonne

{"title":"Globalizing ‘a rage that never dies’ (but can’t stay the same): shifting dynamics of identification in the transnational remaking of Ju-On into The Grudge","authors":"Christopher Jeansonne","doi":"10.1080/25785273.2019.1682273","DOIUrl":"https://doi.org/10.1080/25785273.2019.1682273","url":null,"abstract":"ABSTRACT The Grudge was unique among transnational Japanese horror remakes due to several factors: Ju-On’s director Shimizu Takashi was retained for the Hollywood-financed version, as was its Japanese setting, even as the narrative’s protagonists were replaced with an American cast and the film’s plotlines restructured to accommodate this change. Using Iwabuchi Koichi’s notion of ‘cultural odor’ as a theoretical framework, and informed by scholarship on other J-Horror films and their transnational remakes, the explicit intentions of Ju-On/The Grudge’s producers and creators are contrasted with evidence from the texts themselves, and contextualized through an examination of critical and popular reception of the films as cross-cultural products. This investigation reveals fundamental shifts in dynamics of identification: In Ju-On the horror threat resonates with culturally proximate concerns, and the climactic sequence functions to create a circle of identification between the monster, the protagonist, and the viewer. Conversely, in The Grudge, the monster’s nature as culturally abject in relation to the central protagonist forecloses the potential for such identification, and foreignness itself becomes central to the horror affect.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"10 1","pages":"102 - 87"},"PeriodicalIF":0.2,"publicationDate":"2020-08-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85673939","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