Bøker i World Cinema-serien

How do the islands and archipelagos of the New World figure in Latin American cinema? Comprising 15 essays and a critical introduction, The Film Archipelago: Islands in Latin American Cinema addresses this question by examining a series of intersections between insular spaces and filmmaking in Latin America. The volume brings together international scholars and filmmakers to consider a diverse corpus of films about islands, films that take place on islands, films produced in islands, and films that problematise islands. The book explores a diverse range of films that extend from the Chilean documentaries of Patricio Guzmán to work on the Malvinas/Falkland Islands, and films by Argentine directors Gustavo Fontán and Lucrecia Martel. Chapters focus on Rapa Nui (Easter Island), the Mexican Islas Marías, and the Panamanian Caribbean; on ecocritical, environmental and film historical aspects of Brazilian and Argentine river islands; and on Cuban, Guadeloupean, Haitian, and Puerto Rican contexts.The Film Archipelago argues that the islands and archipelagos of Latin American cinema constitute a critically interesting, analytically complex, and historically suggestive angle to explore issues of marginality and peripherality, remoteness and isolation, and fragility and dependency. As a whole, the collection demonstrates to what extent the combined insular and archipelagic lens can re-frame and re-figure both longstanding and recent discussions on the spaces of Latin American cinema.

Cinema in the Arab world has been the subject of varied and rigorous studies, but most have focused on films as text, providing in-depth analyses of plot, style, ideologies, or examination of the biographies of prominent directors or actors.This innovative new volume shifts the focus on Arab cinema off-screen, to examine the histories, politics, and conditions of distribution, exhibition, and cinema-going in the Arab world. Through broadening the frame of study beyond the screen, the book widens understanding of the cinema, not merely as a collection of films-as-texts, but as a site of cultural and political contestation in the Arab world. Divided into two sections, and guided by interdisciplinary considerations, the contributors examine historical and contemporary issues of Arab cinema in terms of the experience of movie-going and filmmaking. They examine the networks of distribution and exhibition, as well as the contested and multiple meanings that the cinema embodied through diverse historical periods and geographical locations. Part I focuses on new histories of Arab cinema in terms of film production, distribution, exhibition and audience's experiences of cinema-going. Part II deals with more recent issues within scholarship on Arab cinema such as issues of politics, economics, ideologies, as well as issues related to Arab movies' international circulation and screenings at festivals. Together, the chapters enrich our understanding of the cinema in the Arab world, showing how deeply embedded it is within its social, political, and economic contexts.

This book shines much-needed light on the history, structures and films of the Amharic film industry in Ethiopia. Focusing on the rise of the industry from 2002, until today, and embedded in archival, ethnographic and textual research methods, this book offers a sustained and detailed appreciation of Amharic-language cinema. Michael Thomas considers 'fiker'/love as an organising principle in national Ethiopian culture and, by extension, Amharic cinema. Placing 'fiker' as central to understanding Amharic film genres also illuminates the continuous negotiations at play between romantic, familial, patriotic and spiritual notions of love in these films. Thomas considers the production and exhibition of films in Ethiopia, charting fluctuations and continuities between the past and the present. Having done so, he offers detailed textual readings of films, identifying important junctures in the industry's development and the emergence of new genres. The findings of the book detail the affective characteristics that delineate most Amharic genres and the role culturally specific concepts, such as fiker, play in maintaining the relevance of commercial cinemas reliant on domestic audiences.

Explores developments in the global popularity of East Asian cinema, from Chinese martial arts, through Japanese horror, to the burgeoning Korean cinema, with particular emphasis on crossovers, remakes, hybrids and co-productions. This book examines changing cinematic traditions in Asia alongside the 'Asianisation' of western cinema.

Portuguese cinema has become increasingly prominent on the international film festival circuit, proving the country's size belies its cultural impact. From the prestige of directors Manoel de Oliveira, Pedro Costa and Miguel Gomes, to box-office hit La Cage Doree, aspects of Portuguese national cinema are widely visible although the output is comparatively small compared to European players like the UK, Germany and France. Considering this strange discrepancy prompts the question: how can Portuguese cinema be characterised and thought about in a global context?Accumulating expertise from an international group of scholars, this book investigates the shifting significance of the nation, Europe and the globe for the way in which Portuguese film is managed on the international stage. Chapters argue that film industry professionals and artisans must navigate complex globalised systems that inform their filmmaking decisions. Expectations from multi-cultural audiences, as well as demands from business investors and the criteria for critical accolades put pressure on Portuguese cinema to negotiate, for example, how far to retain national identities on screen and how to interact with `popular' and `art' film tropes and labels. Exploring themes typical of Portuguese visual culture - including social exclusion and unemployment, issues of realism and authenticity, and addressing Portugal's postcolonial status - this book is a valuable study of interest to the ever-growing number of scholars looking outside the usual canons of European cinema, and those researching the ongoing implications of national cinema's global networks.

How do the islands and archipelagos of the New World figure in Latin American cinema? Comprising 15 essays and a critical introduction, The Film Archipelago: Islands in Latin American Cinema addresses this question by examining a series of intersections between insular spaces and filmmaking in Latin America. The volume brings together international scholars and filmmakers to consider a diverse corpus of films about islands, films that take place on islands, films produced in islands, and films that problematise islands. The book explores a diverse range of films that extend from the Chilean documentaries of Patricio Guzmán to work on the Malvinas/Falkland Islands, and films by Argentine directors Gustavo Fontán and Lucrecia Martel. Chapters focus on Rapa Nui (Easter Island), the Mexican Islas Marías, and the Panamanian Caribbean; on ecocritical, environmental and film historical aspects of Brazilian and Argentine river islands; and on Cuban, Guadeloupean, Haitian, and Puerto Rican contexts.The Film Archipelago argues that the islands and archipelagos of Latin American cinema constitute a critically interesting, analytically complex, and historically suggestive angle to explore issues of marginality and peripherality, remoteness and isolation, and fragility and dependency. As a whole, the collection demonstrates to what extent the combined insular and archipelagic lens can re-frame and re-figure both longstanding and recent discussions on the spaces of Latin American cinema.

This innovative study finds that, through his unique representation of violence, Argentine director Pablo Trapero has established himself as one of the 21st century's distinctly political filmmakers. By examining the broad concept of violence and how it is represented on-screen, Douglas Mulliken identifies and analyzes the ways in which Trapero utilizes violence, particularly Zizek's concept of objective violence, as a means through which to mediate the politicalThrough a focus on several previously under-studied elements of Trapero's films, Mulliken highlights the ways in which the director's work represents present-day concerns about social inequalities and injustice in neoliberal Argentina on-screen. Finally, he examines how Trapero combines aspects of Argentina's long tradition of political film with elements of Nuevo Cine Argentino to create a unique political voice.

Spanish cinema is at the cutting edge of fantastic film production: this book examines the directors, visual styles and cultural contexts that make up this popular genre and festival favourite.

The history of Greek cinema post-1945 is best understood through the stories of its most internationally celebrated and influential directors.

Animation in the Middle East uncovers the history and politics that have defined the practice and study of animation in the Middle East, and explores the innovative visions of contemporary animators in the region.

One of the fastest growing and most internationally renowned cinemas in Southeast Asia is that of Thailand. In the first ever book devoted solely to this major centre of creative filmmaking, experts on contemporary and historic Thai film provide a timely overview and discussion of key films, directors and current movements in the region in a comprehensive encyclopaedia format. What many critics, analysts and scholars have retrospectively christened `New Thai Cinema' began to take shape in the late 1990s when national film moved away from its position as lower-class and provincial entertainment and became a firm fixture in Bangkok multiplexes and festivals worldwide. This book will provide information on the influential figures behind the films - up to and succeeding the 1997 watershed film Dang Bireley's and Young Gangsters that began the breakaway movement - as well as detailing and explaining the traditions of popular and art-house genres specific to Thailand. Featuring contributions on Thai visionaries such as Apichatpong Weerasethakul and Wisit Sasanatieng and providing rare insight into early Thai cinema, this is an essential scholarly guide to a vibrant aspect of Southeast Asian cinema - its history, industry and aesthetic trends - for scholars and students alike.

A comprehensive collection of essays from the leading scholars of Cuban cinema, exploring the emerging contemporary film scene in a rapidly-changing nation.

A timely analysis of the rise of female-led transnational film in Latin America that takes account of the production histories, aesthetics and socio-political contexts of key industry figures.

Deflecting the attention from Hollywood, Stars in World Cinema fills an important gap in the study of film by bringing together Star Studies and World Cinema. A team of international scholars here bring their expertise and in-depth knowledge of world cultures and cinema to the study of stars and stardom from six continents, exploring their cultures, their local history and their global relevance. Chapters look at the role of acting, music, singing, painting and martial arts in the making of stars from Australia's indigenous population, Austria, China, Egypt, France, Germany, Greece, India, Iran, Japan, North and South Korea, Nigeria, the Philippines, the former Soviet Union, Spain, North and South America. Since the very beginnings of cinema, actors and stars have been central to its history and have been one of the medium's defining characteristics. They have also been fundamental to the marketing of cinema and have played a major part in the reception of films in many cultures. Stars in World Cinema examines stardom and the circulation of stars across borders, analysing how local star systems or non-systems construct stardom around the world. Contributors put into practice their local knowledge of history, language and cultural systems, to consider issues of hybridity, boundary crossing, the mobility of stardom, and embodied spectatorship, in order to further the understanding of stars in light the of recent interest in reception theory.Rooted in a multidisciplinary and polycentric approach, this book throws light on unexpected connections between stars and stardoms from different parts of the world, cutting across chronology, geographies and film history.

Over the years, a realist tendency has made its mark on the world cinema map. What are its main aesthetic and political characteristics? How does it relate to the realist canon and world cinema history? What are the different facets of this phenomenon as expressed in diverse cinemas across the globe? This title deals with these questions.

Andre Bazin's famous article, 'Pour un cinema impur: defense de l'adaptation', was first translated into English simply as 'In Defence of Mixed Cinema', probably to avoid any uncomfortable sexual or racial resonances the word 'impure' might have.

The figure of the auteur continues to haunt the study of film, resisting both the poststructuralist charges that pointed to its absence and the histories of production demonstrating its pitfalls.

Offers a range of approaches and case studies whose organizing principle is the developing idea of polycentrism as applied to cinema. In this title, the authors refine and redefine key concepts in film studies, including identification and identity, narrative and realism, allegory and the national project, auteurism and the popular, art and genre.

Explores German language cinema's developments since 2000. This title examines just what German language film has to offer, from the evolution of the so-called 'heritage films' which dominate the country's mainstream and which examine Germany's problematic pasts, to those which focus on the contemporary social reality of the Berlin Republic.

The first book to examine contemporary Portuguese cinema in a global context: its national identity, style, history and industrial constraints.

*First book on Asian Film Noir *Fresh approach to crime films & thrillers

This book is the definitive study of Basque cinema, revealing how film has always been a vital medium for articulating the Basque region's unique identity and politics.