The Routledge companion to world cinema

The Routledge Companion to World Cinema- Front Cover
The Routledge Companion to World Cinema
Title Page
Copyright Page
Contents
List of illustrations
List of contributors
Acknowledgements
Introduction: The longitude and latitude of World Cinema
	Part I: Longitude
	Part II: Latitude
	References
PART I: Longitude
Chapter 1: The cinematic and the real in contemporary Chinese cinema
	Introduction: the cinematic and the real
	The Fifth Generation’s landscape of nature: in search of national culture
	The Sixth Generation’s mindscape of youth: in defence of individual perception
	Independent directors’ ethnoscape of polylocality: in the name of private memory
	Conclusion: the real versus realism
	References
Chapter 2: Southeast Asian independent cinema: a World Cinema movement
	Introduction
	A new cinema
	A regional cinema
	Conclusion
	References
Chapter 3: Global intimacy and cultural intoxication: Japanese and Korean film
	Introduction
	Japan and Korea: global intimacy and the other
	The jaw-dropping success of K-film in the twenty-first century
	Twenty-first-century diversification
	Between “nation branding” and “cultural odorlessness”
	Conclusion
	Note
	References
Chapter 4: Media refashioning: from Nollywood to New Nollywood
	Introduction
	“New” Nollywood: frameworks
	Half of a Yellow Sun (2013): new media/old media
	Conclusion
	Notes
	References
Chapter 5: Framing democracy: film in post-democracy South Africa
	Introduction
	South Africa turns 21, or “the tunnel at the end of the light”
	A democracy “only in frame”
	“Born frees” and “independent cinema”
	Necktie Youth and “the view from the suburbs”
	Conclusion
	References
Chapter 6: Brazilian cinema on the global screen
	Introduction
	Brazilian film and the international festival circuit
	Brazilian players and global film production
	Brazil and international co-productions
	Conclusion
	Notes
	References
Chapter 7: Transnational filmmaking in South America
	Filmmaking in Peru: Madeinusa and The Milk of Sorrow as festival films
	Conclusion
	References
Chapter 8: Connected in “another way”: repetition, difference and identity in Caribbean cinema
	Introduction: defining Caribbean cinema
	The Caribbean in cinema
	“[A] country without images is a country that does not exist”
	Caribbean cinemas as “cinemas of relation”
	Conclusion
	References
Chapter 9: Women’s (r)evolutions in Mexican cinema
	Introduction
	Film and the Mexican Revolution
	The Golden Years: 1930–1958
	Years of rebellion and change: the 1960s and 1970s
	Talent among the trash: the 1970s and 1980s
	NAFTA and internationalisation: the 1990s and 2000s
	Conclusion
	Note
	References
Chapter 10: Popular cinema/quality television: the audio-visual sector in Spain
	Industry, academy, theory
	Televisual cinema?
	Cinematic TV?
	Conclusion
	References
Chapter 11: Contemporary Scandinavian cinema: between art and commerce
	A Swedish success?
	The transnationalism of the present
	Further sides of the transnational and migratory coin
	Conclusion
	References
Chapter 12: British cinemas: critical and historical debates
	Introduction
	The political economy of the British film industry
	British film culture and questions of quality and taste
	British cinema and the projection of Britishness
	Conclusion
	References
Chapter 13: Developments in Eastern European cinemas since 1989
	Introduction
	The idea of Eastern Europe
	The Eastern European mode of production in the 1990s: from state-subsidised to a producer-driven film production system
	The persistence of auteurism: Béla Tarr’s cinematic journeys
	Migrant Eastern European women behind and in front of the camera
	The Romanian New Wave: European cinema, co-productions and film festivals
	Conclusion
	References
Chapter 14: Cinema at the edges of the European Union: new dynamics in theSouth and the East
	Introduction
	Cinema in Greece and the European South since the crisis
	European enlargement and the Balkans: Romania, Bulgaria and Croatia
	Conclusion
	References
Chapter 15: The non/industries of film and the Palestinian emergent filmeconomy
	World cinema’s binaries
	Towards non/industries of film
	The case of Palestinian cinema
	Independent cinema and the non/industry
	Second Intifada cinema
	From the news industry to the non/industry of film
	Conclusion
	References
Chapter 16: Locations and narrative reorientations in Arab cinemas/World Cinema
	Introduction
	Cultivating desert landscapes
	Charting the Arab cinematic world(s)
	Situating the Caméra Arabe
	Pointing to the future (and to the past): multiplying narratives
	References
Chapter 17: The forking paths of Indian cinema: revisiting Hindi films throughtheir regional networks
	Introduction
	The generic diversity of Indian cinema in the 1920s–1930s
	Modernity, New Theatres and the ‘literary mode’: Hindi cinema in Calcutta in the 1930s
	The decline of Calcutta studios and the rise of the Bombay brand in the 1950s
	The rise and rise of the “Hindi Socials”
	The local in the global
	Conclusion
	References
Chapter 18: American indie film and international art cinema: points ofdistinction and overlap
	Introduction
	Definitions
	Modernism, postmodernism and realism: distinctions and overlaps
	Fields of circulation and consumption
	References
Chapter 19: Canadian cinema(s)
	Introduction
	Projecting immigration and settlement
	Quota-quickies: Hollywood branch plant production
	The National Film Board of Canada
	Making Canadian features: the CFDC and Telefilm
	Branding Canadian cinema(s)
	Canadian screen futures: digital platforms, crossovers and convergences
	References
Chapter 20: Conventions, preventions and interventions: Australasian cinemasince the 1970s
	Introduction: the case of/for national cinema
	Prehistories
	Australasian agendas
	Principals, pioneers and provocateurs
	Funding, “types” and genres
	Australasian cinema in the 1990s and 2000s
	Conclusion: life/support
	References
PART II:Latitude
Chapter 21: Cinemas of citizens and cinemas of sentiment: World Cinema in flux
	References
Chapter 22: Transworld cinemas: film-philosophies for world cinemas’ engagementwith world history
	Introduction
	We don’t need another neologism
	Transworld historiography
	Film-philosophy after world cinemas
	References
Chapter 23: Transnational cinema: mapping a field of study
	Introduction
	From transnational studies in the social sciences to transnational cinema studies
	Conceptual mappings
	The present and future of transnational film studies
	References
Chapter 24: “Soft power” and shifting patterns of influence in global film culture
	Introduction: the changing global film market
	Soft power and culture
	Hollywood, soft power and national narratives
	Film, the BRICS and cultural policy
	Conclusion
	References
Chapter 25: Realist cinema as World Cinema
	Reality between modernity and the digital age
	Towards a possible taxonomy of cinematic realism
	Realism from non-cinema to the myth of total cinema
	Note
	References
Chapter 26: Regional cinema: micro-mapping and glocalisation
	Vantage points: the national, the transnational and the regional
	Defining regional cinema: location, voice and authenticity
	Glocalisation: theorising regional cinema
	Push and pull: factors influencing regional cinema
	From regional to national and back again: historicising regional cinema
	Micromapping: studying regional cinemas
	References
Chapter 27: Global women’s cinema
	Polycentric multiculturalism versus uncentred inclusivity: World Cinema in the twenty-first century
	Women’s cinema goes global
	Conclusion
	References
Chapter 28: Provincialising heterosexuality: queer style, World Cinema
	Introduction
	Including queer global film and film theory
	Queer film style
	Queering the international film festival film
	The institutional distortion of patriarchy
	A “storing house for those ‘clandestine countermemories’”?
	Conclusion
	Note
	References
Chapter 29: Stars across borders: the vexed question of stars’ exportability
	Introduction
	International, cross-regional and transnational stardom
	Exporting French stars
	Conclusion
	References
Chapter 30: Film fusions: the cult film in World Cinema
	Introduction
	Historicising cult World Cinema
	Exploitation movies
	Transglobal cult film
	Beyond the neo-colonial
	Animation and the influence of manga
	Women in cult films
	Conclusion
	References
Chapter 31: Perpetual motion pictures: Sisyphean burden and the global screenfranchise
	Introduction
	Approaching global film franchises
	“The Myth of Sisyphus”
	“Rebooting” the franchise
	Conclusion
	References
Chapter 32: Screening World Cinema at film festivals: festivalisation and (staged)authenticity
	Introduction
	Cosmopolitanism and commerce
	Discoveries and New Waves
	Festivalisation and authenticity
	Authenticity
	Festival strategy
	Staged authenticity
	Conclusion
	References
Chapter 33: Cinephilia goes global: loving cinema in the post-cinematic age
	Introduction
	A matter of time: cinephilia’s generational thinking
	Global online cultures: technology, consumption and world cinephilia
	Writing cinephilic histories
	Conclusion
	Note
	References
Chapter 34: Another (hi)story?: reinvestigating the relationship between cinemaand history
	Introduction
	Film, history and ideology: symptoms of the European debate
	Postmodern history and the loss of the real
	The (un-)representability of history
	Cinema-history in the new millennium
	Images of war from the past and from the present
	Conclusion
	References
Chapter 35: Archival cinema
	Introduction
	Idiomatic definitions
	Provenance, authentication, falsification
	Film history on celluloid
	Archival film as artwork
	Is there a “digital archival film”?
	References
Chapter 36: Digital cinemas
	Introduction
	The political economy of World Cinema
	Digital data in production
	Digital cinema and the posthuman condition
	Conclusion
	References
Chapter 37: Access and power: film distribution, re-intermediation and piracy
	World Cinema is circulation
	Distribution and power
	Disintermediated distribution?
	Everything right here, right now: the panacea of piracy?
	Disruptive innovators
	Conclusion
	References
Chapter 38: The emerging global screen ecology of social media entertainment
	Introduction
	The political economy of online distribution
	Social media and the new scarcity
	Social media entertainment and the online creator
	Content innovation and the vlogger effect
	The technological affordances of social media entertainment
	Qualitatively different global reach, IP dynamics and monetisation strategy
	Looking forward
	References
Chapter 39: Remapping World Cinema through audience research
	Introduction
	Box-office figures: how many people watch World Cinema?
	Audience surveys: who does World Cinema appeal to and why?
	Focus groups: what do audiences think about World Cinema?
	Conclusion
	Note
	References
Chapter 40: Eyes on the future: World Cinema and transnational capacity building
	Introduction
	Development strategies: the role of the Danish Centre for Culture and Development (CKU)
	Youth and Film Uganda
	Transnational capacity building in Kenya, Mali and Burkina Faso
	Notes
	References
Index