Global Cinema Studies In Landscape Allegory
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| Author | : David Melbye |
| Publisher | : Rowman & Littlefield |
| Total Pages | : 199 |
| Release | : 2024-08-19 |
| Genre | : Performing Arts |
| ISBN | : 1666921211 |
Global Cinema Studies in Landscape Allegory explores the narrative and stylistic approaches to imbuing natural settings in audiovisual media with a psychological dimension – or, in other words, configuring a ‘landscape’ to function beyond its typical role as a backdrop – and the cultural contexts for this aesthetic impulse. Contributors argue that while audiovisual allegory can be understood as inherently avant-garde, certain kinds of stories – and the ways in which they are presented – can be categorized as a ‘landscape allegory.’ Focusing on the idea of a ‘landscape’ in the most concrete and literal form, contributions drawing from a global spectrum of cultural contexts work toward establishing a fuller and more culturally diverse understanding of landscape allegory in cinema.
| Author | : D. Melbye |
| Publisher | : Palgrave Macmillan |
| Total Pages | : 207 |
| Release | : 2015-11-14 |
| Genre | : History |
| ISBN | : 9781349288557 |
This study seeks to understand the form of cinematic space referred to as 'the landscape of the mind,' in which natural, outdoor settings serve as outward manifestations of characters' inner subjective states.
| Author | : Negar Mottahedeh |
| Publisher | : Duke University Press |
| Total Pages | : 217 |
| Release | : 2008-11-14 |
| Genre | : Performing Arts |
| ISBN | : 0822381192 |
Following the 1979 Iranian Revolution, Iran’s film industry, in conforming to the Islamic Republic’s system of modesty, had to ensure that women on-screen were veiled from the view of men. This prevented Iranian filmmakers from making use of the desiring gaze, a staple cinematic system of looking. In Displaced Allegories Negar Mottahedeh shows that post-Revolutionary Iranian filmmakers were forced to create a new visual language for conveying meaning to audiences. She argues that the Iranian film industry found creative ground not in the negation of government regulations but in the camera’s adoption of the modest, averted gaze. In the process, the filmic techniques and cinematic technologies were gendered as feminine and the national cinema was produced as a woman’s cinema. Mottahedeh asserts that, in response to the prohibitions against the desiring look, a new narrative cinema emerged as the displaced allegory of the constraints on the post-Revolutionary Iranian film industry. Allegorical commentary was not developed in the explicit content of cinematic narratives but through formal innovations. Offering close readings of the work of the nationally popular and internationally renowned Iranian auteurs Bahram Bayza’i, Abbas Kiarostami, and Mohsen Makhmalbaf, Mottahedeh illuminates the formal codes and conventions of post-Revolutionary Iranian films. She insists that such analyses of cinema’s visual codes and conventions are crucial to the study of international film. As Mottahedeh points out, the discipline of film studies has traditionally seen film as a medium that communicates globally because of its dependence on a (Hollywood) visual language assumed to be universal and legible across national boundaries. Displaced Allegories demonstrates that visual language is not necessarily universal; it is sometimes deeply informed by national culture and politics.
| Author | : James Donald |
| Publisher | : SAGE |
| Total Pages | : 784 |
| Release | : 2008-04-16 |
| Genre | : Language Arts & Disciplines |
| ISBN | : 1473971802 |
Written by a team of veteran scholars and exciting emerging talents, The SAGE Handbook of Film Studies maps the field internationally, drawing out regional differences in the way that systematic intellectual reflection on cinema and film has been translated into an academic discipline. It examines the conversations between Film Studies and its contributory disciplines that not only defined a new field of discourse but also modified existing scholarly traditions. It reflects on the field′s dominant paradigms and debates and evaluates their continuing salience. Finally, it looks forward optimistically to the future of the medium of film, the institution of cinema and the discipline of Film Studies at a time when the very existence of film and cinema are being called into question by new technological, industrial and aesthetic developments.
| Author | : Peter I. Barta |
| Publisher | : Routledge |
| Total Pages | : 281 |
| Release | : 2015-12-22 |
| Genre | : Literary Criticism |
| ISBN | : 1317564774 |
This book focuses on literature and cinema in English or French by authors and directors not working in their native language. Artists with hybrid identities have become a defining phenomenon of contemporary reality following the increased mobility between civilisations during the postcolonial period and the waves of emigration to the West. Cinema and prose fiction remain the most popular sources of cultural consumption, not least owing to the adaptability of both to the new electronic media. This volume considers cultural products in English and French in which the explicitly multi-focal representation of authors' experiences of their native languages/cultures makes itself conspicuous. The essays explore work by the peripheral and those without a country, while problematising what might be meant by the widely used but not always well-defined term ‘bicultural’. The first section looks at films by such well-known filmmakers working in France as Bouchareb, Kechiche, Legzouli and Dridi, as well as the animated feature Persepolis. Here the focus is on the representation of human experience in spatial terms, exploring the appropriation of territory cohabited by ‘local’ people, newcomers and their children, haunted by the cultural memories of distant places. The second part is devoted to multicultural authors whose ‘native’ language was English, Russian, Polish, Hungarian or Spanish (Beckett, Herzen, Voyeikova, Triolet, Conrad, Hoffmann, Kristof, Dorfman), and their creative engagement with difference. A study of the emergence of multilingual writing in Montaigne and an autobiographical essay by Elleke Boehmer on growing up surrounded by English, Dutch, Afrikaans and Zulu frame the volume's chapters. The collection relishes the freedom provided by liberation from the confines of one language and culture and the delight in creative multilingualism. This book will be of significant interest to those studying the subject of biculturalism, as well as the fields of comparative literature and cinema.
| Author | : Mariana Liz |
| Publisher | : Bloomsbury Publishing |
| Total Pages | : 304 |
| Release | : 2017-11-30 |
| Genre | : Performing Arts |
| ISBN | : 1786722755 |
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.
| Author | : Chris Healy and Stephen Muecke (eds) |
| Publisher | : Melbourne Univ. Publishing |
| Total Pages | : 234 |
| Release | : 2008-03-01 |
| Genre | : |
| ISBN | : 0522855083 |
Thinking and writing about the past, challenging what 'history' might be and how it could appear is an ongoing interest of this journal and an ongoing (sometimes contentious) point of connection between cultural studies and history. The shifts in how we research and write the past is no simple story of accepted breakthroughs that have become the new norms, nor is it a story where it is easy to identify what the effects of cultural studies thinking on the discipline of history has been. History has provided its own challenges to its own practices in a very robust way, while the cultural studies has challenged what the past is and how it might be rendered from a wide ranging set of ideas and modes of representation that have less to do with specific disciplinary arguments than responses to particular modes (textual, filmic, sonic), particular sites (nations, Indigenous temporalities, sexuality, literature, gender) and perhaps a greater willingness to accentuate the political in the historical.
| Author | : Amresh Sinha |
| Publisher | : Columbia University Press |
| Total Pages | : 266 |
| Release | : 2012-04-24 |
| Genre | : Performing Arts |
| ISBN | : 0231850018 |
In spite of the overwhelming interest in the study of memory and trauma, no single volume has yet explored the centrality of memory to films of this era in a global context; this volume is the first anthology devoted exclusively to the study of memory in twenty-first-century cinema. Combining individual readings and interdisciplinary methodologies, this book offers new analyses of memory and trauma in some of the most discussed and debated films of the new millennium: Pan's Labyrinth (2006), The Namesake (2006), Hidden (2005), Eternal Sunshine of the Spotless Mind (2004), Oldboy (2003), City of God (2002), Irréversible (2002), Mulholland Drive (2001), Memento (2000), and In the Mood for Love (2000).
| Author | : Tim Lindemann |
| Publisher | : Walter de Gruyter GmbH & Co KG |
| Total Pages | : 241 |
| Release | : 2024-02-19 |
| Genre | : Literary Criticism |
| ISBN | : 3110779439 |
n the past decade, spanning from the aftermath of the 2008 financial crisis to the beginning of the Covid-19 pandemic, rural poverty in the United States has risen dramatically. The impact of the pandemic is set to intensify these inequalities as the decades of neoliberal dismantling of public healthcare and other social institutions leave inhabitants of impoverished rural areas particularly vulnerable. Even before this current exacerbation, representations of rural landscape in American cinema have sought to spatially visualize the country’s social inequalities and focus on the victims of poverty and marginalization. The films discussed in this monograph, Ballast (2008), Winter’s Bone (2010), Beasts of the Southern Wild (2012), and Leave No Trace (2018), address deep rural poverty in a complex manner and facilitate an interactive, social understanding of landscape. New Rural Cinema suggest a novel way of looking at landscape in cinema that responds to and guides its readers through this recent development in American Independent film. It views the chosen films as expressions of a growing awareness of the dire inequality caused by neoliberal capitalism in the United States and the role landscape plays both in its mechanisms of social exclusion as well as in its collective contestation.
| Author | : Glyn Davis |
| Publisher | : Routledge |
| Total Pages | : 547 |
| Release | : 2015-02-20 |
| Genre | : Social Science |
| ISBN | : 131762338X |
Film Studies: A Global Introduction reroutes film studies from its Euro-American focus and canon in order to introduce students to a medium that has always been global but has become differently and insistently so in the digital age. Glyn Davis, Kay Dickinson, Lisa Patti and Amy Villarejo’s approach encourages readers to think about film holistically by looking beyond the textual analysis of key films. In contrast, it engages with other vital areas, such as financing, labour, marketing, distribution, exhibition, preservation, and politics, reflecting contemporary aspects of cinema production and consumption worldwide. Key features of the book include: clear definitions of the key terms at the foundation of film studies coverage of the work of key thinkers, explained in their social and historical context a broad range of relevant case studies that reflect the book’s approach to global cinema, from Italian "white telephone" films to Mexican wrestling films innovative and flexible exercises to help readers enhance their understanding of the histories, theories, and examples introduced in each chapter an extensive Interlude introducing readers to formal analysis through the careful explication and application of key terms a detailed discussion of strategies for writing about cinema Films Studies: A Global Introduction will appeal to students studying film today and aspiring to work in the industry, as well as those eager to understand the world of images and screens in which we all live.
