Mitsuyo Wada-Marciano
- Published in print:
- 2012
- Published Online:
- November 2016
- ISBN:
- 9780824835941
- eISBN:
- 9780824871574
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824835941.003.0005
- Subject:
- Society and Culture, Asian Studies
This chapter examines the concept of transnationalism in contemporary Japanese cinema. The term “transnational cinema” has been posed as a substitute for “national cinema,” which has long been ...
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This chapter examines the concept of transnationalism in contemporary Japanese cinema. The term “transnational cinema” has been posed as a substitute for “national cinema,” which has long been criticized for various reasons. While nationalism has been repeatedly invented in popular culture, national borders have become increasingly permeable. Global exchanges have noticeably accelerated with the development of communication technologies. In the case of film studies, the expansion of multinational finance and the diversified distribution beyond theatrical release has put the present framework of national cinema in a tenuous position. This chapter tackles the issue of the paradigm shift on the levels both of the critical discourses regarding Chinese-language and Nordic cinemas and the film texts, with particular emphasis on contemporary transnational films from the East Asian region. It also discusses global localization or glocalization as exemplified by the film Initial D. Finally, it considers what benefit, if any, the framework of transnational cinema brings us over that of national cinema through an analysis of the Japanese film, The Hotel Venus (2004, Takahata Hideta).Less
This chapter examines the concept of transnationalism in contemporary Japanese cinema. The term “transnational cinema” has been posed as a substitute for “national cinema,” which has long been criticized for various reasons. While nationalism has been repeatedly invented in popular culture, national borders have become increasingly permeable. Global exchanges have noticeably accelerated with the development of communication technologies. In the case of film studies, the expansion of multinational finance and the diversified distribution beyond theatrical release has put the present framework of national cinema in a tenuous position. This chapter tackles the issue of the paradigm shift on the levels both of the critical discourses regarding Chinese-language and Nordic cinemas and the film texts, with particular emphasis on contemporary transnational films from the East Asian region. It also discusses global localization or glocalization as exemplified by the film Initial D. Finally, it considers what benefit, if any, the framework of transnational cinema brings us over that of national cinema through an analysis of the Japanese film, The Hotel Venus (2004, Takahata Hideta).
Will Higbee
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474414982
- eISBN:
- 9781474444736
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474414982.003.0018
- Subject:
- Film, Television and Radio, Film
Using the example of contemporary Moroccan cinema, this epilogue contends that cinéma-monde is best approached as a subset of transnational cinema. Thinking through the transnationality of ...
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Using the example of contemporary Moroccan cinema, this epilogue contends that cinéma-monde is best approached as a subset of transnational cinema. Thinking through the transnationality of cinéma-monde offers a way to bring crucial cultural, linguistic, political and economic relationships into critical focus. The epilogue further argues that cinema has been transnational from its very inception, and that recent trends in production and circulation of film have made it virtually impossible to think or theorise cinema solely within the framework of the nation-state.Less
Using the example of contemporary Moroccan cinema, this epilogue contends that cinéma-monde is best approached as a subset of transnational cinema. Thinking through the transnationality of cinéma-monde offers a way to bring crucial cultural, linguistic, political and economic relationships into critical focus. The epilogue further argues that cinema has been transnational from its very inception, and that recent trends in production and circulation of film have made it virtually impossible to think or theorise cinema solely within the framework of the nation-state.
Mitsuyo Wada-Marciano
- Published in print:
- 2012
- Published Online:
- November 2016
- ISBN:
- 9780824835941
- eISBN:
- 9780824871574
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824835941.003.0001
- Subject:
- Society and Culture, Asian Studies
This book examines the impact of digital technology on Japanese cinema from the 1990s to the present by focusing on the salient film genres or media networks: horror, documentary-style fiction, ...
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This book examines the impact of digital technology on Japanese cinema from the 1990s to the present by focusing on the salient film genres or media networks: horror, documentary-style fiction, animation, transnational cinema, and ethnic cinema. Through analyses of the works by filmmakers such as Nakata Hideo and Sai Yoichi, as well as animation artists like Oshii Mamoru and Yamamura Koji, the book explores the ongoing contestations and negotiations between cinema and digital media, the national and the transnational, and global cinema and Japanese local culture. It also considers Japan's conflicting desires toward transnational culture, marketing, and viewership, as well as the strategic rationale behind the transnational cinema in both the film industry and recent critical paradigms, by drawing on Koichi Iwabuchi's work, Recentering Globalization: Popular Culture and Japanese Transnationalism.Less
This book examines the impact of digital technology on Japanese cinema from the 1990s to the present by focusing on the salient film genres or media networks: horror, documentary-style fiction, animation, transnational cinema, and ethnic cinema. Through analyses of the works by filmmakers such as Nakata Hideo and Sai Yoichi, as well as animation artists like Oshii Mamoru and Yamamura Koji, the book explores the ongoing contestations and negotiations between cinema and digital media, the national and the transnational, and global cinema and Japanese local culture. It also considers Japan's conflicting desires toward transnational culture, marketing, and viewership, as well as the strategic rationale behind the transnational cinema in both the film industry and recent critical paradigms, by drawing on Koichi Iwabuchi's work, Recentering Globalization: Popular Culture and Japanese Transnationalism.
Michael Gott and Thibaut Schilt
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474414982
- eISBN:
- 9781474444736
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474414982.003.0001
- Subject:
- Film, Television and Radio, Film
Building upon the concepts of littérature-monde (citing a 2007 manifesto) and cinéma-monde (citing a 2013 article by Bill Marshall), this introduction aims to explore the opportunities and ...
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Building upon the concepts of littérature-monde (citing a 2007 manifesto) and cinéma-monde (citing a 2013 article by Bill Marshall), this introduction aims to explore the opportunities and limitations of adopting the label of ‘cinéma-monde’ as a critical framework through which to approach a corpus of films linked to the francophone world and its production networks. To this end, it discusses the Trophées Francophones du cinéma (created in 2013), the first cinema awards specifically dedicated to internationally produced francophone films, as well as the concepts of ‘accented cinemas’ (a term borrowed from Hamid Naficy), ‘franco-zones’ and cinematic ‘hubs’ in order to further delineate cinéma-monde and articulate a decentred approach to global French-language filmmaking. A kaleidoscope is forwarded as a metaphor because it involves looking at the world through a particular yet variable and adjustable optic. The introduction ends with a summary of the fourteen chapters and three epilogues, which comprise the volume.Less
Building upon the concepts of littérature-monde (citing a 2007 manifesto) and cinéma-monde (citing a 2013 article by Bill Marshall), this introduction aims to explore the opportunities and limitations of adopting the label of ‘cinéma-monde’ as a critical framework through which to approach a corpus of films linked to the francophone world and its production networks. To this end, it discusses the Trophées Francophones du cinéma (created in 2013), the first cinema awards specifically dedicated to internationally produced francophone films, as well as the concepts of ‘accented cinemas’ (a term borrowed from Hamid Naficy), ‘franco-zones’ and cinematic ‘hubs’ in order to further delineate cinéma-monde and articulate a decentred approach to global French-language filmmaking. A kaleidoscope is forwarded as a metaphor because it involves looking at the world through a particular yet variable and adjustable optic. The introduction ends with a summary of the fourteen chapters and three epilogues, which comprise the volume.
Daniela Berghahn
- Published in print:
- 2013
- Published Online:
- September 2013
- ISBN:
- 9780748642908
- eISBN:
- 9780748689088
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748642908.001.0001
- Subject:
- Film, Television and Radio, Film
Why have films with diasporic family narratives increased in popularity in recent years? How do representations of the diasporic family differ from those of more dominant social groups? How does ...
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Why have films with diasporic family narratives increased in popularity in recent years? How do representations of the diasporic family differ from those of more dominant social groups? How does diasporic cinema negotiate the conventions of film genres commonly associated with the representation of the family? In the age of globalisation, diasporic and other types of transnational family are increasingly represented in films such as East is East, The Grand Tour (Le Grand Voyage), Almanya - Welcome to Germany (Almanya - Willkommen in Deutschland), Immigrant Memories (Mémoires d'immigrés: l'héritage maghrébin), Couscous (La graine et le mulet), When We Leave (Die Fremde), Monsoon Wedding and My Big Fat Greek Wedding. While there is a significant body of scholarship on the family in Hollywood cinema, this is the first book to analyse the representation of families with an immigration background from a comparative transnational perspective. It focuses on Europe's most established transnational film cultures, Black and Asian British, Maghrebi French (or ‘beur’) and Turkish German cinema, and analyses key trends from the mid-1980s to the present. Drawing on critical concepts from diaspora studies, cultural anthropology, socio-historical research on diasporic families and the burgeoning field of transnational film studies, this book offers original critical perspectives to scholars and students who are researching families and issues of race and ethnicity in cinema, the media and visual culture.Less
Why have films with diasporic family narratives increased in popularity in recent years? How do representations of the diasporic family differ from those of more dominant social groups? How does diasporic cinema negotiate the conventions of film genres commonly associated with the representation of the family? In the age of globalisation, diasporic and other types of transnational family are increasingly represented in films such as East is East, The Grand Tour (Le Grand Voyage), Almanya - Welcome to Germany (Almanya - Willkommen in Deutschland), Immigrant Memories (Mémoires d'immigrés: l'héritage maghrébin), Couscous (La graine et le mulet), When We Leave (Die Fremde), Monsoon Wedding and My Big Fat Greek Wedding. While there is a significant body of scholarship on the family in Hollywood cinema, this is the first book to analyse the representation of families with an immigration background from a comparative transnational perspective. It focuses on Europe's most established transnational film cultures, Black and Asian British, Maghrebi French (or ‘beur’) and Turkish German cinema, and analyses key trends from the mid-1980s to the present. Drawing on critical concepts from diaspora studies, cultural anthropology, socio-historical research on diasporic families and the burgeoning field of transnational film studies, this book offers original critical perspectives to scholars and students who are researching families and issues of race and ethnicity in cinema, the media and visual culture.
Neelam Sidhar Wright
- Published in print:
- 2015
- Published Online:
- September 2017
- ISBN:
- 9780748696345
- eISBN:
- 9781474412155
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748696345.003.0002
- Subject:
- Film, Television and Radio, Film
This chapter discusses Indian film criticism, with a particular focus on traditional modes of studying Indian cinema. It first traces the history of the development of the Bombay film industry from ...
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This chapter discusses Indian film criticism, with a particular focus on traditional modes of studying Indian cinema. It first traces the history of the development of the Bombay film industry from the 1910s to the 2000s, arguing that the 1960s and 1980s are decades from which we can best study Indian cinema's most popular form of filmmaking: the masala genre. It then considers traditional approaches to Indian film and some popular themes in Indian film studies, including nationalism, diaspora, postcolonialism and cultural identity. It also examines introductory guidebooks and other literary sources that it accuses of having misled readers towards restrictive (if not outmoded and derogatory) definitions of the cinema they seek to understand. The chapter concludes with an overview of categories used to explore Bollywood's current manifestation, namely, third cinema, world cinema, Asian cinema, global contemporary Indian cinema and transnational cinema.Less
This chapter discusses Indian film criticism, with a particular focus on traditional modes of studying Indian cinema. It first traces the history of the development of the Bombay film industry from the 1910s to the 2000s, arguing that the 1960s and 1980s are decades from which we can best study Indian cinema's most popular form of filmmaking: the masala genre. It then considers traditional approaches to Indian film and some popular themes in Indian film studies, including nationalism, diaspora, postcolonialism and cultural identity. It also examines introductory guidebooks and other literary sources that it accuses of having misled readers towards restrictive (if not outmoded and derogatory) definitions of the cinema they seek to understand. The chapter concludes with an overview of categories used to explore Bollywood's current manifestation, namely, third cinema, world cinema, Asian cinema, global contemporary Indian cinema and transnational cinema.
Will Higbee
- Published in print:
- 2013
- Published Online:
- January 2014
- ISBN:
- 9780748640041
- eISBN:
- 9780748693917
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748640041.001.0001
- Subject:
- Film, Television and Radio, Film
Since the early 1980s and the arrival of Beur cinema filmmakers of Maghrebi origin have made a key contribution French cinema's representation of issues such as immigration, integration and national ...
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Since the early 1980s and the arrival of Beur cinema filmmakers of Maghrebi origin have made a key contribution French cinema's representation of issues such as immigration, integration and national identity. However, they have done so mostly from a position on the margins of the industry. In contrast, since the early 2000s, Maghrebi-French and North African émigré filmmakers have occupied an increasingly prominent position on both sides of the camera, announcing their presence on French screens in a wider range of genres and styles than ever before. This greater visibility and move to the mainstream has not, however, automatically meant that these films have lost any of the social or political relevance. Indeed in the 2000s many of these films have increasingly questioned the boundaries between national, transnational and diasporic cinema, whilst simultaneously demanding, either implicitly or explicitly, a reconsideration of the very difference that has traditionally been seen as a barrier to the successful integration of North African immigrants and their descendants into French society. Through a detailed study of this transformative decade for Maghrebi-French and North African émigré filmmaking in France, this book argues for the emergence of a ‘Post-Beur’ cinema in the 2000s that is simultaneously global and local in its outlook. Its key features include: A comprehensive overview of the key developments in Maghrebi-French and North African émigré filmmaking in France since the 2000s: counter-heritage cinema and the memorialisation of France's colonial past; journey narratives and the myth of return; the ‘mainstreaming’ of Maghrebi-French directors and stars; representations of Islam. Detailed case studies of key films from the 2000s that have yet to receive scholarly attention, such as Hors-la-loi, Dernier maquis and Vénus noire. An in-depth analysis of trends in production, distribution and exhibition as they relate to Maghrebi-French and North African émigré filmmakers in the 2000s.Less
Since the early 1980s and the arrival of Beur cinema filmmakers of Maghrebi origin have made a key contribution French cinema's representation of issues such as immigration, integration and national identity. However, they have done so mostly from a position on the margins of the industry. In contrast, since the early 2000s, Maghrebi-French and North African émigré filmmakers have occupied an increasingly prominent position on both sides of the camera, announcing their presence on French screens in a wider range of genres and styles than ever before. This greater visibility and move to the mainstream has not, however, automatically meant that these films have lost any of the social or political relevance. Indeed in the 2000s many of these films have increasingly questioned the boundaries between national, transnational and diasporic cinema, whilst simultaneously demanding, either implicitly or explicitly, a reconsideration of the very difference that has traditionally been seen as a barrier to the successful integration of North African immigrants and their descendants into French society. Through a detailed study of this transformative decade for Maghrebi-French and North African émigré filmmaking in France, this book argues for the emergence of a ‘Post-Beur’ cinema in the 2000s that is simultaneously global and local in its outlook. Its key features include: A comprehensive overview of the key developments in Maghrebi-French and North African émigré filmmaking in France since the 2000s: counter-heritage cinema and the memorialisation of France's colonial past; journey narratives and the myth of return; the ‘mainstreaming’ of Maghrebi-French directors and stars; representations of Islam. Detailed case studies of key films from the 2000s that have yet to receive scholarly attention, such as Hors-la-loi, Dernier maquis and Vénus noire. An in-depth analysis of trends in production, distribution and exhibition as they relate to Maghrebi-French and North African émigré filmmakers in the 2000s.
James Wicks
- Published in print:
- 2014
- Published Online:
- May 2015
- ISBN:
- 9789888208500
- eISBN:
- 9789888313204
- Item type:
- book
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789888208500.001.0001
- Subject:
- Film, Television and Radio, Film
Transnational Representations focuses on a neglected period in Taiwan film scholarship: the golden age of the 1960s and 1970s, which saw innovations in plot, theme and genre as directors highlighted ...
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Transnational Representations focuses on a neglected period in Taiwan film scholarship: the golden age of the 1960s and 1970s, which saw innovations in plot, theme and genre as directors highlighted the complexities of Taiwan’s position in the world. Combining a concise overview of Taiwan film history with analysis of representative Taiwan films, the book reveals the internal and external struggles Taiwan experienced in its search for global identity. This cross-disciplinary study adopts a transnational approach which presents Taiwan’s film industry as one that is intertwined with that of mainland China, challenging previous accounts that present the two industries as parallel yet separate. The book also offers productive comparisons between Taiwan films and contemporary films elsewhere representing the politics of migration, and between the antecedents of new cinema movements and Taiwan New Cinema of the 1980s.Less
Transnational Representations focuses on a neglected period in Taiwan film scholarship: the golden age of the 1960s and 1970s, which saw innovations in plot, theme and genre as directors highlighted the complexities of Taiwan’s position in the world. Combining a concise overview of Taiwan film history with analysis of representative Taiwan films, the book reveals the internal and external struggles Taiwan experienced in its search for global identity. This cross-disciplinary study adopts a transnational approach which presents Taiwan’s film industry as one that is intertwined with that of mainland China, challenging previous accounts that present the two industries as parallel yet separate. The book also offers productive comparisons between Taiwan films and contemporary films elsewhere representing the politics of migration, and between the antecedents of new cinema movements and Taiwan New Cinema of the 1980s.
Dolores Tierney
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780748645732
- eISBN:
- 9781474445238
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748645732.001.0001
- Subject:
- Film, Television and Radio, Film
In the late 1990s and early 2000s Latin American films Amores perros, Diarios de motocicleta, El hijo de la novia, Y tu mamá también, and Cidade de Deus enjoyed unprecedented critical and commercial ...
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In the late 1990s and early 2000s Latin American films Amores perros, Diarios de motocicleta, El hijo de la novia, Y tu mamá también, and Cidade de Deus enjoyed unprecedented critical and commercial success in global markets. Benefiting from external financial and/or creative input, these films were considered examples of transnational cinema. This book examines the six transnational directors (Iñárritu, Cuarón, del Toro, Meirelles, Salles and Campanella), who made these and the subsequent commercially successful and mostly ‘deterritorialized’ films (21 Grams, Babel, Biutiful, El espinazo del Diablo, El laberinto del fauno, Blindness, The Constant Gardener, Children of Men, On the Road, El secreto de sus ojos). Arguing against criticism in which these films’ commercial (Hollywood) and transnational features efface the authorial sensibilities of these directors and make them irrelevant to Latin American trends and politics, this book shows how they engage with national, continental and hemispheric politics and identity. Bringing a new perspective to the transnational films of Latin America’s transnational auteurs, including the recent Gravity, The Revenant, Birdman, and Crimson Peak, this book facilitates understanding how different genres function across cultures.Less
In the late 1990s and early 2000s Latin American films Amores perros, Diarios de motocicleta, El hijo de la novia, Y tu mamá también, and Cidade de Deus enjoyed unprecedented critical and commercial success in global markets. Benefiting from external financial and/or creative input, these films were considered examples of transnational cinema. This book examines the six transnational directors (Iñárritu, Cuarón, del Toro, Meirelles, Salles and Campanella), who made these and the subsequent commercially successful and mostly ‘deterritorialized’ films (21 Grams, Babel, Biutiful, El espinazo del Diablo, El laberinto del fauno, Blindness, The Constant Gardener, Children of Men, On the Road, El secreto de sus ojos). Arguing against criticism in which these films’ commercial (Hollywood) and transnational features efface the authorial sensibilities of these directors and make them irrelevant to Latin American trends and politics, this book shows how they engage with national, continental and hemispheric politics and identity. Bringing a new perspective to the transnational films of Latin America’s transnational auteurs, including the recent Gravity, The Revenant, Birdman, and Crimson Peak, this book facilitates understanding how different genres function across cultures.
Scott MacKenzie and Anna Westerståhl Stenport
- Published in print:
- 2015
- Published Online:
- May 2017
- ISBN:
- 9780748694174
- eISBN:
- 9781474408561
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748694174.003.0001
- Subject:
- Film, Television and Radio, Film
In their “Introduction,” Scott MacKenzie and Anna Westerståhl Stenport coin a new rubric within World Cinema called “Arctic Cinemas.” They position different forms of Arctic filmmaking, whose ...
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In their “Introduction,” Scott MacKenzie and Anna Westerståhl Stenport coin a new rubric within World Cinema called “Arctic Cinemas.” They position different forms of Arctic filmmaking, whose interrelations are often overlooked to uncover a counter-history that reveals the complexity of Arctic moving image representation. Films on Ice is the first book to present a transnational and global range of Arctic film and moving image practices, addressing the great cinematic diversity of representation and production practices in the region. Engendering a dialogue between insiders and outsiders, the book’s examples are drawn from three distinct but interrelated groups: 1) films made by Arctic residents, but mostly seen in the South through film festivals, specialty TV channels, and the Internet; 2) films made outside the Arctic, typically by outsiders, and viewed mostly in the South and; 3) films made and viewed by Arctic residents through narrowcast, broadcast, digital streaming, and alternative venues.Less
In their “Introduction,” Scott MacKenzie and Anna Westerståhl Stenport coin a new rubric within World Cinema called “Arctic Cinemas.” They position different forms of Arctic filmmaking, whose interrelations are often overlooked to uncover a counter-history that reveals the complexity of Arctic moving image representation. Films on Ice is the first book to present a transnational and global range of Arctic film and moving image practices, addressing the great cinematic diversity of representation and production practices in the region. Engendering a dialogue between insiders and outsiders, the book’s examples are drawn from three distinct but interrelated groups: 1) films made by Arctic residents, but mostly seen in the South through film festivals, specialty TV channels, and the Internet; 2) films made outside the Arctic, typically by outsiders, and viewed mostly in the South and; 3) films made and viewed by Arctic residents through narrowcast, broadcast, digital streaming, and alternative venues.
