Transnational Screens最新文献_第8页

Cosmopolitanism, modernity and youth in the 1960s: the transnational wanderings of teen idols from Argentina, Mexico and Spain 20世纪60年代的世界主义、现代性和青年:来自阿根廷、墨西哥和西班牙的青少年偶像的跨国流浪

IF 0.2

Transnational Screens Pub Date : 2020-05-28 DOI: 10.1080/25785273.2020.1756058

Laura Podalsky

引用次数: 2

Invisible Transnationalism: Iranian New Wave and its Influences on the New Marathi Film 看不见的跨国主义:伊朗新浪潮及其对马拉地新电影的影响

IF 0.2

Transnational Screens Pub Date : 2020-04-22 DOI: 10.1080/25785273.2020.1754032

H. Ingle

引用次数: 1

Envisioning the World: How Film Shapes the Earth, film programme, 8–22 june 2019, Close-Up Film Centre, London 展望世界:电影如何塑造地球，电影节目，2019年6月8日至22日，伦敦特写电影中心

IF 0.2

Transnational Screens Pub Date : 2020-04-02 DOI: 10.1080/25785273.2019.1692604

Tiago de Luca

引用次数: 0

India’s superhero recreations: inhabiting the Elseworld of Malegaon’s Superman 印度的超级英雄娱乐活动:居住在马勒冈的超人的另一个世界

IF 0.2

Transnational Screens Pub Date : 2020-04-02 DOI: 10.1080/25785273.2019.1692603

S. Narayanswamy

{"title":"India’s superhero recreations: inhabiting the Elseworld of Malegaon’s Superman","authors":"S. Narayanswamy","doi":"10.1080/25785273.2019.1692603","DOIUrl":"https://doi.org/10.1080/25785273.2019.1692603","url":null,"abstract":"ABSTRACT This essay explores how Mollywood cinema mediates trauma in the Malegaon region, with a focus on the superhero spoof genre. Mollywood, native to the town of Malegaon in Maharashtra, India is a highly localised film industry infamous for its low budget DIY aesthetic, with its products often being reduced to their ‘ironic’ spoof value. I argue that films like Malegaon ka Superman/Malegaon’s Superman (2009) are in fact successful adaptations for a local market, which reimagine an international franchise for their cultural contexts, thereby adding to the ‘thick text’ of the transnational canon of globally recognised characters. Following the Hindu-Muslim riots of 1992, the region continues to experience the ongoing legacy of political conflict, religious violence and economic depression. This essay outlines how Malegaon ka Superman confronts this legacy of violence and poverty, and the impact on the community. I explore how the film weaves the popular lore of Superman and the canon of Superman from Hollywood into the Bollywood narrative tradition, to create a hybridised product for the Mollywood market. Alongside the transnational processes involved in adapting a global franchise for a specialised cultural context, including an address to the disruptions and disconnections from the ‘original’ text, this paper will also reveal how such adaptations offer a means of negotiating trauma for local audiences.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88208576","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

Posthumous Reconciliation: 21st century Cuban-Soviet-North American Filmic Collaboration 死后和解:21世纪古巴-苏联-北美电影合作

IF 0.2

Transnational Screens Pub Date : 2020-04-02 DOI: 10.1080/25785273.2019.1679332

J. Loss

{"title":"Posthumous Reconciliation: 21st century Cuban-Soviet-North American Filmic Collaboration","authors":"J. Loss","doi":"10.1080/25785273.2019.1679332","DOIUrl":"https://doi.org/10.1080/25785273.2019.1679332","url":null,"abstract":"ABSTRACT While the Soviet Union’s disintegration in 1991 may have felt to Cubans as if they had been abandoned, in the filmic representation of the two countries and their citizens within two recent transnational films made during the short-lived Cuban-U.S. thaw, they are closer than ever, and Cuba is in the driver’s seat. The United States is but an afterthought. This article focuses specifically on Sergio & Sergei (2017), directed by Cuban Ernesto Daranas, and produced by the ICAIC, Spain’s Mediapro, Cuba’s RTV Comercial, and Wing and Prayer Productions (U.S. Actor/Ron Perlman’s Indie Finance and Production Company); and Un Traductor/A Translator, 2018, directed by Cuban/Canadian brothers Sebastián and Rodrigo Barriuso, and produced by Sebastián Barriuso and Canadian Lindsay Gossling. It argues that the films advance idealized versions of the Soviet male or Sovietized Cuban as well as ‘old-fashioned’ values of solidarity in the face of a more sinister present. Demonstrating that the reconciliation these films enact is hardly on the U.S.-Cuban axis, this article shows how the films clearly manage to project upon that axis a warm, friendly, and worldly Cuba – with secure, multi-lingual protagonists at the fore who seem proud of their country and open to the world, albeit cautiously.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88436895","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

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

IF 0.2

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":null,"pages":null},"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

IF 0.2

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

Danielle E. Hipkins

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

IF 0.2

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":null,"pages":null},"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

IF 0.2

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)

IF 0.2

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

E. Yeh

引用次数: 1