Investigates the evolving aesthetic forms, technological and industrial conditions, and social impacts of cinema in the twenty-first century. Contributors excavate sites of global filmmaking in an era of digital reproduction and amidst new modes of circulation and aesthetic convergence, focusing primarily on recent films made across Europe, Africa, Latin America, Asia, and the Middle East.
Investigates the evolving aesthetic forms, technological and industrial conditions, and social impacts of cinema in the twenty-first century. Contributors excavate sites of global filmmaking in an era of digital reproduction and amidst new modes of circulation and aesthetic convergence, focusing primarily on recent films made across Europe, Africa, Latin America, Asia, and the Middle East.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
ELENA GORFINKEL is senior lecturer in film studies at King’s College London in the United Kingdom. She is the author of Lewd Looks: American Sexploitation Cinema in the 1960s. TAMI M. WILLIAMS is an associate professor of English and film studies at the University of Wisconsin-Milwaukee. She is the author of Germaine Dulac: A Cinema of Sensations.
Inhaltsangabe
Table of Contents Chapter 1: Introduction: Global Cinemas in a Time of Networks Elena Gorfinkel, King’s College London (U.K.) Part 1: Cartographies, Geopolitics, Aesthetics Chapter 2: Beyond and Beneath the Map of World Cinema Dudley Andrew, Yale University Chapter 3: Frame Adrian Martin, Monash University (Australia) Chapter 4: Abstraction and the Geopolitical: Lessons from Antonioni’s Trip to China John David Rhodes, University of Cambridge Chapter 5: The City of Bits and Urban Rule: Media Archaeology, Urban Space, and Contemporary Chinese Documentary James Tweedie, University of Washington Part 2: Global Ideality, History, Representation Chapter 6: Toward an Archeology of Global Rhythms: Melodie der Welt (Melody of the World, 1929) and its Reception in France Laurent Guido, University of Lille (France) Chapter 7: When Cinema was Humanism Karl Schoonover, University of Warwick Chapter 8: African Cinema: Digital Media and Expanding Frames of Representation N. Frank Ukadike, Tulane University, New Orleans Chapter 9: Changing Circumstances: Global Flows of Lesbian Cinema Patricia White, Swarthmore College Part 3: Kinships, Identifications, Genres Chapter 10: Hermano and La hora cero: Violence and Transgressive Subjectivities in Venezuelan Youth Cinema Luisela Alvaray, DePaul University Chapter 11: Between Love and the Moral Law: The Fatal Mother in Park Chan-wook’s Sympathy for Lady Vengeance Peter Y. Paik, Yonsei University (Korea) Chapter 12: The Queer Mexican Cinema of Julián Hernández Gilberto M. Blasini, University of Wisconsin–Milwaukee Chapter 13: The Gangster Film as World Cinema Jian Xu, University of Wisconsin–Milwaukee Chapter 14: Epilogue: 24 Frames: Regarding the Past and Future of Global Cinema Tami Williams, University of Wisconsin–Milwaukee
Table of Contents Chapter 1: Introduction: Global Cinemas in a Time of Networks Elena Gorfinkel, King’s College London (U.K.) Part 1: Cartographies, Geopolitics, Aesthetics Chapter 2: Beyond and Beneath the Map of World Cinema Dudley Andrew, Yale University Chapter 3: Frame Adrian Martin, Monash University (Australia) Chapter 4: Abstraction and the Geopolitical: Lessons from Antonioni’s Trip to China John David Rhodes, University of Cambridge Chapter 5: The City of Bits and Urban Rule: Media Archaeology, Urban Space, and Contemporary Chinese Documentary James Tweedie, University of Washington Part 2: Global Ideality, History, Representation Chapter 6: Toward an Archeology of Global Rhythms: Melodie der Welt (Melody of the World, 1929) and its Reception in France Laurent Guido, University of Lille (France) Chapter 7: When Cinema was Humanism Karl Schoonover, University of Warwick Chapter 8: African Cinema: Digital Media and Expanding Frames of Representation N. Frank Ukadike, Tulane University, New Orleans Chapter 9: Changing Circumstances: Global Flows of Lesbian Cinema Patricia White, Swarthmore College Part 3: Kinships, Identifications, Genres Chapter 10: Hermano and La hora cero: Violence and Transgressive Subjectivities in Venezuelan Youth Cinema Luisela Alvaray, DePaul University Chapter 11: Between Love and the Moral Law: The Fatal Mother in Park Chan-wook’s Sympathy for Lady Vengeance Peter Y. Paik, Yonsei University (Korea) Chapter 12: The Queer Mexican Cinema of Julián Hernández Gilberto M. Blasini, University of Wisconsin–Milwaukee Chapter 13: The Gangster Film as World Cinema Jian Xu, University of Wisconsin–Milwaukee Chapter 14: Epilogue: 24 Frames: Regarding the Past and Future of Global Cinema Tami Williams, University of Wisconsin–Milwaukee
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