Studies in World Cinema最新文献_第4页

Mathilde Rouxel and Stefanie Van de Peer, eds.: ReFocus: The Films of Jocelyne Saab: Films, Artworks and Cultural Events for the Arab World Mathilde Rouxel和Stefanie Van de Peer主编。《重新聚焦:乔斯林·萨博的电影:阿拉伯世界的电影、艺术和文化活动》

Studies in World Cinema Pub Date : 2022-01-11 DOI: 10.1163/26659891-bja10006

C. Launchbury

引用次数: 0

Witnessing Women: Quo Vadis, Cinema? 见证女性:电影的现状?

Studies in World Cinema Pub Date : 2021-12-30 DOI: 10.1163/26659891-bja10003

D. Jelača

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Ewa Mazierska and Lars Kristensen, eds.: Third Cinema, World Cinema and Marxism Ewa Mazierska和Lars Kristensen编。:第三电影、世界电影与马克思主义

Studies in World Cinema Pub Date : 2021-12-29 DOI: 10.1163/26659891-bja10005

A. Jacobsson

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Certain Women Directors: US Independent Filmmakers in the World 某些女性导演:世界上的美国独立电影人

Studies in World Cinema Pub Date : 2021-12-29 DOI: 10.1163/26659891-bja10002

Patricia White

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Where in the World are Chinese Women Filmmakers? Transnational China and World Cinema in the Twenty-First Century 中国女电影人在世界哪里?21世纪的跨国中国与世界电影

Studies in World Cinema Pub Date : 2021-11-24 DOI: 10.1163/26659891-01020002

G. Marchetti

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World Cinema in a Global Frame 全球框架下的世界电影

Studies in World Cinema Pub Date : 2021-04-29 DOI: 10.1163/26659891-0000B0006

Seung-hoon Jeong

{"title":"World Cinema in a Global Frame","authors":"Seung-hoon Jeong","doi":"10.1163/26659891-0000B0006","DOIUrl":"https://doi.org/10.1163/26659891-0000B0006","url":null,"abstract":"\u0000The “world” in film studies has been the “other” of the world’s empire, with Hollywood taking American exceptionalism. It unfolds as the stage of identity politics representing all the rest of the world as postcolonial, peripheral, or merely different than Hollywood. However, this “political” model becomes challengeable as the world’s ongoing homogenization blurs old boundaries while causing “ethical” deadlocks such as the vicious interlocking between (neo)liberal multiculturalism and fundamentalist terrorism. The notions of subjectivity and society also undergo new crises and changes permeating the entire world beyond the established national or transnational frames of the world. Against this backdrop, world cinema can be reframed not for a world tour of territorialized national cinemas or transnational deterritorialization but a critical remapping of many contemporary films reflecting global phenomena even in localized narrative space. Locality functions here less as the basis of identity, referring to a unique reality that both resists and requires the center’s endorsement, than as a contingent springboard for addressing the concrete universality of the world system, including the center. This approach brings a global frame of world cinema.","PeriodicalId":377215,"journal":{"name":"Studies in World Cinema","volume":"2 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128958220","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 National and the Popular 《国家与人民

Studies in World Cinema Pub Date : 2021-04-29 DOI: 10.1163/26659891-0000B0001

Richard Peña

{"title":"The National and the Popular","authors":"Richard Peña","doi":"10.1163/26659891-0000B0001","DOIUrl":"https://doi.org/10.1163/26659891-0000B0001","url":null,"abstract":"\u0000The national and the popular have been an intertwined and ever-thorny topic of the relationship in cinema. So what is “national cinema?” How can national character be expressed in the cinema? When looking at, for example, the history of Brazilian cinema critics rarely felt the need to the question of what constituted a “Brazilian” film; perhaps, it seemed obvious, not worth discussing. As in so many cultures in Asia, Africa and Latin America, the cinema began as something imported for many decades, something brought to the country by foreigners. Turkey also has its own problematic relationship to colonialism: the encounter with the West is not the imposition of something external, but the liberation of something that was always internal. In Chinese culture, the cinema itself was seen as a modernizing element with far less historical baggage than any of the traditional artistic disciplines.\u0000The term popular, as in popular cinema, has its true force, perhaps, in its blurred contours and cultural contradictions; in the supposed opposition of two paradigms, one based on the market, the other drawn from anthropology. One can define the popular simply by focusing on the commercial success of individual works or by studying those things that claim for themselves or are claimed to be expressions of the thoughts, values and the feelings of the “people,” however defined. Many of the formulations of popular cinema, however construed, often imagine it as a kind of alternative practice to some kind of other, official or better produced cinema—popular cinema as oppositional cinema. The films offered a free zone, a space in which “official” or promoted values could be questioned or even refused. Yet in the end, they truly do not dislodge that imposed modernization; instead, they offer examples of how one can accommodate oneself to it.","PeriodicalId":377215,"journal":{"name":"Studies in World Cinema","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"131932566","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

Studies in World Cinema: A Critical Journal 世界电影研究:一份批判杂志

Studies in World Cinema Pub Date : 2021-04-29 DOI: 10.1163/26659891-0000B0005

Savaş Arslan

{"title":"Studies in World Cinema: A Critical Journal","authors":"Savaş Arslan","doi":"10.1163/26659891-0000B0005","DOIUrl":"https://doi.org/10.1163/26659891-0000B0005","url":null,"abstract":"What if we are deprived of all content in the most post-apocalyptic manner? What if one starts writing about all the existing content at a time when there is no more of it to be produced – a moment of silence, of no more. Would we be happy with what we got so far or would we be able to find other ways of expressing the burning creative urge in ourselves through other media or forms? Such a moment that can come with the end of the digital media as we know it may seem to extinguish our options. Yet where, when, and how did storytelling start? Did it start the moment that humankind started speaking, uttering words? Or did it predate language and was purely visual? Did the cave paintings predate language or were they the dawning of the language itself? Perhaps it is impossible to answer such questions, but the thinking of the language is of expressing ourselves. Regardless of how it started, the urge to express, that creative impulse that exists, has been a driving force. Two years ago, when this journal project started, the world, as we knew it, was as anticipated and apprehended as possible. Even during friendly discussions among some who think they are bombarded by arguably repetitive content, which was still there. If the content is out there, if there is more to be added to the existing body of it, and if the anticipation exists, all seemed fine. At such a point, the world signified something else. It was put simply as an adjective before a multitude of creative practices (including cinema, art, music, literature, and theater) and, as such, it signified either such practices traveling outside of their country of origin or such practices that belong to the non-English speaking and/or non-western countries. In both senses, despite the world, as a word, encompassed the entirety of the earth, it was rendered in a limited scope and in a relation to a variety of other words commonly used in relation to cinema, such as foreign, the other, subtitled, migrant, transnational, and the Third World. However, as an epidemic that started at the end of 2019 turned into a pandemic in 2020, and the growing sense of anxiety and contempt, the lockdowns and curfews altered the sense(s) of the world. While the first half of 2020 reminded us that the “world” was a single entirety, the last quarter of 2020 once again reminded us that the world is no longer a single entity – but one divided by those who have the vaccine and who have not, the global North and others.","PeriodicalId":377215,"journal":{"name":"Studies in World Cinema","volume":"51 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116769728","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

National Turbulence and the Turbos of the World Cinema System 国家动荡和世界电影系统的涡轮

Studies in World Cinema Pub Date : 2021-04-29 DOI: 10.1163/26659891-0000B0003

Dudley Andrew

{"title":"National Turbulence and the Turbos of the World Cinema System","authors":"Dudley Andrew","doi":"10.1163/26659891-0000B0003","DOIUrl":"https://doi.org/10.1163/26659891-0000B0003","url":null,"abstract":"\u0000From the outset cinema was metropolitan. Producers needed access to financing, pools of talent, specialized equipment, and laboratories that one could only find in urban centers. In certain cinema-cities (Berlin, Paris, Buenos Aires, Mumbai, Taipei, etc.) reside ambitious writers, producers, and filmmakers who were driven to outdo, or modify, or simply copy what they saw, employing their own culture’s raw material. Thus, the Jameson-Moretti law applies: local content, pertinent to each nation, was poured into forms that were adopted, with strategic alterations, from Hollywood. Where are today’s hotspots? Where does cinema seem crucial and talked about?\u0000Let’s abandon the map (where necessarily one region stands front and center), and instead let’s spin the globe. As it whirls, our eye intermittently catches glimpses of the shapes of the most sizeable nations. Today China and Nigeria stand out prominently alongside India and Russia. So dense are they with film activity that the globe is distended and wobbles out of true. Only sixty years ago China and Nigeria were places that had no place in World Cinema; they gained recognition only when a few promising art films found their way to the European festivals that served as image exchange centers. Today that promise has been fulfilled beyond, indeed against, expectations. Recapitulating Hollywood in its heyday Nollywood and China (Beijing/Shanghai/Qingdao) have become thoroughly corporate and market-savvy, turning out standardized and predictable products. If fresh images are to renew World Cinema, it will hardly be from the urban image-centers. On our globalized globe, novelty should be sought on the periphery of these former peripheral nations. And indeed, exciting new work has been bubbling beyond the dense cultural centers of these nations. Independent art films and documentaries have emerged from dark corners of both places thanks to the network of festivals around the globe, but increasingly and paradoxically thanks to the rival medium of the internet, with its networks of informal distribution and what used to be called “word of mouth.”","PeriodicalId":377215,"journal":{"name":"Studies in World Cinema","volume":"113 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-04-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122462766","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

Worlding Cinema 世界电影

Studies in World Cinema Pub Date : 2021-02-15 DOI: 10.1163/26659891-0000b0002

C. Gledhill

{"title":"Worlding Cinema","authors":"C. Gledhill","doi":"10.1163/26659891-0000b0002","DOIUrl":"https://doi.org/10.1163/26659891-0000b0002","url":null,"abstract":"\u0000Against the narrowly commercial and homogenising term ‘world cinema’ that lumps together a diversity of ‘foreign’ films as a category, the notion of ‘the local’ relativizes the idea of the ‘national’ as a singular entity. It suggests the pivoting around each other of ‘there’ and ‘here,’ thereby avoiding precisely fixed locations and calling on the dynamism of their relationship. The local, captures not only particular geo-political locations but historical relationships, which, interacting with changing conditions, produce the shifting frameworks of thinking, feeling, experience, and aesthetic perception that shape local practices, traditions, and cultural forms. However, this specificity is often called on to endorse an authenticity uncontaminated by metropolitan sophistication or global uniformity, enabling local products to travel to an elsewhere beyond national boundaries. The value of ‘world’ over ‘global’ lies in its call on the space shared by many different nationals, whereas ‘global’ suggests the homogenisation enforced by multi-national corporate and neo-colonial Western powers. As an alternative concept, ‘trans-national’ applied to cinema has the virtue of acknowledging the existence of nationally defined geo-historical and cultural differences as well as the reality of cross-border migration of personnel, technologies, and films, along with the complexity of international co-production. However, if the term keeps the idea of the ‘national’ in place, the boundaries it marks are neither natural nor fixed. If local film genres and narrative forms function as public sites in which aesthetic histories, cultural frames of reference and social experiences feed and negotiate with each other, the question arises how far the trans-national intensification of this activity now produces a new space for an emergent ‘world imaginary’: the idea of a shared ‘world’.","PeriodicalId":377215,"journal":{"name":"Studies in World Cinema","volume":"42 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-02-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114563894","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