1st Edition
Transnational Cinema, The Film Reader
Transnational Cinema: The Film Reader provides an overview of the key concepts and debates within the developing field of transnational cinema.
Bringing together seminal essays from a wide range of sources, this volume engages with films that fashion their narrative and aesthetic dynamics in relation to more than one national or cultural community. The reader is divided into four sections:
- From National to Transnational Cinema
- Global Cinema in the Digital Age
- Motion Pictures: Film, Migration and Diaspora
- Tourists and Terrorists.
Transnational Cinema: The Film Reader
Contents
Acknowledgments
Introduction: What is Transnational Cinema? by Elizabeth Ezra and Terry Rowden
Introduction to Section I: From National to Transnational Cinema
Chapter 1. Andrew Higson, "The Limiting Imagination of National Cinema" from Cinema and Nation, eds. Mette Hjort and Scott Mackenzie (London and New York: Routledge 2000), pp. 63-74.
Chapter 2. David Murphy, "Africans Filming Africa: Questioning Theories of an Authentic African Cinema." Journal of African Cultural Studies 13, No. 2, December 2000, pp. 239-49.
Chapter 3. Ella Shohat, "Post-Third-Worldist Culture: Gender, Nation, and the Cinema" from Feminist Genealogies, Colonial Legacies, Democratic Futures, eds. Jacqui Alexander and Chandra T. Mohanty (London and New York: Routledge 1996), pp. 183-209.
Chapter 4. Jigna Desai, "Bombay Boys and Girls: Transnational Gender and Sexual Politics in the New Indian Cinema in English" from South Asian Popular Culture 1, No. 1, April 2003, pp. 45-61.
Introduction to Section II: Global Cinema in the Digital Age
Chapter 5. Robert E. Davis, "The Instantaneous Worldwide Release: Coming Soon to Everyone, Everywhere" from West Virginia University Philological Papers, Vol. 49, 2002-2003; pp. 110-16.
Chapter 6. Elana Shefrin, "Lord of the Rings, Star Wars, and Participatory Fandom: Mapping New Congruencies Between the Internet and Media Entertainment Culture" from Critical Studies in Media Communication 21, No. 3, September 2004, pp. 261-81.
Chapter 7. John Hess and Patricia R. Zimmermann, "Transnational Documentary: A Manifesto" from an earlier version published in Afterimage 1997 (February): pp. 10-14.
Introduction to Section III: Motion Pictures: Film, Migration, and Diaspora
Chapter 8. Hamid Naficy, "Situating Accented Cinema" from An Accented Cinema: Exilic and Diasporic Filmmaking, Princeton University Press, 2001, pp. 10-39.
Chapter 9. Peter Bloom, "Beur Cinema and the Politics of Location: French
Immigration Politics and the Naming of a Film Movement" from Social Identities
5, No. 4, December 1999, pp. 469-87.
Chapter 10. David Desser, "Diaspora and National Identity: Exporting 'China' through the Hong Kong Cinema" from Post Script: Essays in Film and the Humanities 20, Nos. 2-3, Winter/Spring/Summer 2001, pp. 124-36.
Chapter 11. Ann Marie Stock, "Migrancy and the Latin American Cinemascape: Towards a Post-National Critical Praxis" from Revista Canadiense De Estudios Hispanicos 20, No. 1, Fall 1995, pp. 19-30.
Introduction to Section IV: Tourists and Terrorists
Chapter 12. Diane Negra, " Romance And/As Tourism: Heritage Whiteness and the (Inter)National Imaginary in the New Woman's Film" from Keyframes: Popular Cinema and Cultural Studies, Routledge, 2001, pp. 82-97.
Chapter 13. John S. Nelson, "Four Forms for Terrorism: Horror, Dystopia, Thriller, and Noir" from Poroi 2, No. 1, August 2003.
Chapter 14. Homi K. Bhabha, "Terror and After. . ." from Parallax 8, No. 1, January-March 2002, pp. 3-4.
Biography
Elizabeth Ezra teaches in the School of Modern Languages and Cultures at the University of Stirling. She is the author of The Colonial Unconscious (2000) and George Méliès: The Birth of the Auteur (2000). Terry Rowden teaches in the Department of English at the College of Wooster. His essays and reviews have appeared in Southern Review, MELUS and College Literature.
