Introduction 1. The development of global film 2. The Hollywood studio model 3. Approaching films from different cultures 4. National Cinemas in Europe: contrasting experiences 5. De-centring the Hollywood domination debate: Japan and South Korea 6. Middle East without Borders 7. International art cinema and the festival circuit 8. Cinema that needs to be different? 9. Global television 10. Diverse Indian cinemas 11. Chinese cinemas 12. Looking to the future
Biography
Roy Stafford has taught film in further, higher and adult education in the UK. He is now a freelance lecturer working in cinema-based film education. He is co-author of The Media Student’s Book (5th edition, 2010) and has written widely on film including Understanding Audiences and the Film Industry (2007) and study guides on La haine (2000) and Seven Samurai (2001).
"Global Film is as much about business as it is about cinema, society, and enculturation. The text's ideological bent, which evokes Stuart Hall and the Birmingham School, gives it a political-economy-of-film veneer... [it] is a comendable effort to chart this ephemeral and inexhaustible trove of cultural riches." - Tony Osborne, Gonzaga University, Communication Research Trends
