Transnational Screens最新文献_第9页

Neorealist film culture, 1945-1954: Rome, open cinema 新现实主义电影文化，1945-1954:罗马，开放电影院

IF 0.2

Transnational Screens Pub Date : 2020-07-11 DOI: 10.1080/25785273.2020.1787674

G. Fidotta

引用次数: 0

More-than-human worlds through the Neo-Western landscapes of Jauja and The Revenant 超越人类的世界通过新西方景观的Jauja和荒野猎人

IF 0.2

Transnational Screens Pub Date : 2020-07-01 DOI: 10.1080/25785273.2020.1787673

J. Hanley

引用次数: 0

Fatih Akın’s cinema and the new sound of Europe 法提赫Akın的电影和欧洲的新声音

IF 0.2

Transnational Screens Pub Date : 2020-06-22 DOI: 10.1080/25785273.2020.1785147

Ecem Yıldırım

引用次数: 1

Non-cinema: global digital film-making and the multitude 非电影:全球数字电影制作和大众

IF 0.2

Transnational Screens Pub Date : 2020-06-22 DOI: 10.1080/25785273.2020.1785148

Romana Turina

引用次数: 0

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

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":"81 1","pages":"48 - 61"},"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

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

‘We control the engine, we control the world’: the geopolitics of gender, nation, and labour in hard-to-place transnational films “我们控制了引擎，我们就控制了世界”:跨国电影中关于性别、国家和劳工的地缘政治

IF 0.2

Transnational Screens Pub Date : 2020-04-02 DOI: 10.1080/25785273.2019.1665966

D. Schwartz

{"title":"‘We control the engine, we control the world’: the geopolitics of gender, nation, and labour in hard-to-place transnational films","authors":"D. Schwartz","doi":"10.1080/25785273.2019.1665966","DOIUrl":"https://doi.org/10.1080/25785273.2019.1665966","url":null,"abstract":"ABSTRACT Western academe conceptualizes neoliberalism as a political theory of capitalism’s expansion into all facets of being, homogenizing neoliberalism’s disparate geopolitical operations on gendered subjects. Transnational film studies attempts an intervention, reclaiming questions of production and authorship alongside consumption and desire, accounting for globalization’s shifting landscape. Some scholars call for critical understandings of ‘transnational’, highlightingpower imbalances in transnational exchanges at sites of production, distribution, and exhibition. Neoliberalism efface gendered, racialized, and nationalized power relations at the site of labour, while arguments in transnational film studies efface geopolitical unevenness in transnational filmmaking and theoretical conceptualizations of the transnational. The industrial circumstances of Slumdog Millionaire and Snowpiercer are ripe for illuminating neoliberalism’s uneven gendered effects on divided subjects and nations. Hard to place within clear national borders textually and industrially, these films share precarious positions on global markets geopolitically. A methodology highlighting geopolitical unevenness across industries relationally is necessary for closely attending to sites of reception and stardom beyond the box office, including sites of production, distribution, and text. Examining spatiotemporal formations in these films and their paratexts troubles neoliberalism’s emphasis on spatial division. Reading these films from multiple sites proves useful for tracing geopolitical entanglements and particularities of neoliberalism’s divergent processes and effects.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"15 1","pages":"1 - 17"},"PeriodicalIF":0.2,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84407242","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":"36 1","pages":"18 - 33"},"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