Cinema, Cross-Cultural Collaboration, and Criticism provides a platform for a new politics of criticism, a collaborative ethos for a different kind of relationship to cross-cultural cinema that invites further conversations between filmmakers and audiences, indigenous and others.
Cinema, Cross-Cultural Collaboration, and Criticism provides a platform for a new politics of criticism, a collaborative ethos for a different kind of relationship to cross-cultural cinema that invites further conversations between filmmakers and audiences, indigenous and others.
Davinia Thornley is Senior Lecturer in the Media, Film, and Communication Department at the University of Otago, New Zealand. Her research has been published in a number of journals (including European Journal of Cultural Studies and Studies in Australasian Cinema) and edited collections, such as Reverse Shots: Indigenous Film and Media in an International Context.
Inhaltsangabe
List of Figures Preface Acknowledgments 1. Introduction - Cinematic Cross-Cultural Collaboration: Filming on an Uneven Field 2. 'An instrument of actual change in the world': Engaging a New Collaborative Criticism through Isuma/Arnait Productions' Film, Before Tomorrow 3. 'My whole area has started to be about what's left over': Alec Morgan, 'Stolen Histories,' and Critical Collaboration on the Australian Aboriginal Documentary, Lousy Little Sixpence 4. 'A space being right on that boundary'; Critiquing Cross-Cultural Collaboration in Aotearoa New Zealand Cinema 5. Conclusion - Modelling Collaborative Criticism: What Does it Mean to Collaborate Cross-Culturally in Cinema? Select Bibliography Index
List of Figures Preface Acknowledgments 1. Introduction - Cinematic Cross-Cultural Collaboration: Filming on an Uneven Field 2. 'An instrument of actual change in the world': Engaging a New Collaborative Criticism through Isuma/Arnait Productions' Film, Before Tomorrow 3. 'My whole area has started to be about what's left over': Alec Morgan, 'Stolen Histories,' and Critical Collaboration on the Australian Aboriginal Documentary, Lousy Little Sixpence 4. 'A space being right on that boundary'; Critiquing Cross-Cultural Collaboration in Aotearoa New Zealand Cinema 5. Conclusion - Modelling Collaborative Criticism: What Does it Mean to Collaborate Cross-Culturally in Cinema? Select Bibliography Index
List of Figures Preface Acknowledgments 1. Introduction - Cinematic Cross-Cultural Collaboration: Filming on an Uneven Field 2. 'An instrument of actual change in the world': Engaging a New Collaborative Criticism through Isuma/Arnait Productions' Film, Before Tomorrow 3. 'My whole area has started to be about what's left over': Alec Morgan, 'Stolen Histories,' and Critical Collaboration on the Australian Aboriginal Documentary, Lousy Little Sixpence 4. 'A space being right on that boundary'; Critiquing Cross-Cultural Collaboration in Aotearoa New Zealand Cinema 5. Conclusion - Modelling Collaborative Criticism: What Does it Mean to Collaborate Cross-Culturally in Cinema? Select Bibliography Index
List of Figures Preface Acknowledgments 1. Introduction - Cinematic Cross-Cultural Collaboration: Filming on an Uneven Field 2. 'An instrument of actual change in the world': Engaging a New Collaborative Criticism through Isuma/Arnait Productions' Film, Before Tomorrow 3. 'My whole area has started to be about what's left over': Alec Morgan, 'Stolen Histories,' and Critical Collaboration on the Australian Aboriginal Documentary, Lousy Little Sixpence 4. 'A space being right on that boundary'; Critiquing Cross-Cultural Collaboration in Aotearoa New Zealand Cinema 5. Conclusion - Modelling Collaborative Criticism: What Does it Mean to Collaborate Cross-Culturally in Cinema? Select Bibliography Index
Rezensionen
"Davinia Thornley presents a detailed and logical exploration of cross-cultural filmmaking practices. Her description of 'collaborative criticism', bringing together diverse ways of knowing and working, is entirely persuasive, and her instantiation of transnational and global perspectives are of the current critical moment. This is a very fine book." - Arnold Krupat, Sarah Lawrence College, USA
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