Theorizing World Cinema

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  • Format: Paperback
  • Copyright: 2011-12-15
  • Publisher: I. B. Tauris

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This groundbreaking and innovative textbook for studies in the field re-places World Cinema in the cultural imaginary. It also repositions World Cinema in a wider discursive space than hitherto and treats it as an object of theoretical enquiry, rather than as a commercial label. The editors and distinguished group of contributors, including Laura Mulvey, John Caughie, Geoffrey Nowell-Smith, Ian Christie, and Paul Julian Smith, offer a range of approaches and case studies, whose organizing principle is the developing idea of polycentrism as applied to cinema. They refine and redefine key concepts in film studies, including identification, representation and identity, narrative and the everyday, allegory and referentiality, auteurism and the popular, and dominance and hegemony. They reevaluate how cinema shapes and responds to the philosophical, cultural and political effects of transnationalism and cosmopolitanism in the age of the moving image, and explore the interconnectedness of films produced worldwide, as well as the links between cinema and other visual cultural forms.

Author Biography

Lcia Nagib is Centenary Professor of World Cinemas at the University of Leeds. She is the author of several books, including Brazil on Screen: Cinema Novo, New Cinema, Utopia (I.B. Tauris) and World Cinema and the Ethics of Realism. Chris Perriam is Professor of Hispanic Studies at the University of Manchester. He is the author, among others, of the book From Banderas to Bardem: Stars and Masculinities in Recent Spanish Cinema. Rajinder Dudrah is Senior Lecturer in Screen Studies at the University of Manchester. He is the author of the books Bollywood: Sociology Goes to the Movies and Bhangra: Birmingham and Beyond.

Table of Contents

List of Illustrations * Notes on Contributors * Acknowledgements * Introduction * The National Project * ‘Morvern Callar, Art Cinema and the ‘Monstrous Archive’” * ‘On Film and Cathedrals: Monumental Art, National Allegories and Cultural Warfare’ *  ‘A Theory of Cinema that Can Account for Indian Cinema’ * The Transnational Project * ‘Transnational Cinemas: The Cases of Mexico, Argentina and Brazil’ * ‘Eduardo Noriega’s Transnational Projections’ * ‘From world cinema to World Cinema: Wong Kar-wai’s Ashes of Time and Ashes of Time Redux’ *
The Diasporic Project * ‘Beyond World Cinema?  The Dialectics of Diasporic Cinema’ * ‘Speaking in Tongues: Ang Lee, Accented Cinema, Hollywood’ * The Realist Project * ‘From Realism to Neorealism’ * ‘Oshima, Corporeal Realism and the Eroticized Apparatus’ * ‘Realism of the Senses: A Tendency in World Cinema’ * ‘Rear Projection and the Paradoxes of Hollywood Realism’ * Index

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