Ann Davies
- Published in print:
- 2009
- Published Online:
- July 2012
- ISBN:
- 9780719073649
- eISBN:
- 9781781702093
- Item type:
- book
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719073649.001.0001
- Subject:
- Film, Television and Radio, Film
Daniel Calparsoro, a director who has contributed to the contemporary scene in Spanish and Basque cinema, has provoked strong reactions from the critics. Reductively dismissed as a purveyor of crude ...
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Daniel Calparsoro, a director who has contributed to the contemporary scene in Spanish and Basque cinema, has provoked strong reactions from the critics. Reductively dismissed as a purveyor of crude violence by those critics lamenting a ‘lost golden age’ of Spanish filmmaking, Calparsoro's films reveal in fact a more complex interaction with trends and traditions in both Spanish and Hollywood cinema. This book is a full-length study of the director's work, from his early social realist films set in the Basque Country to his later forays into the genres of the war and horror film. It offers an in-depth film-by-film analysis, while simultaneously exploring the function of the director in the contemporary Spanish context, the tension between directors and critics, and the question of national cinema in an area—the Basque Country—of heightened national and regional sensitivities.Less
Daniel Calparsoro, a director who has contributed to the contemporary scene in Spanish and Basque cinema, has provoked strong reactions from the critics. Reductively dismissed as a purveyor of crude violence by those critics lamenting a ‘lost golden age’ of Spanish filmmaking, Calparsoro's films reveal in fact a more complex interaction with trends and traditions in both Spanish and Hollywood cinema. This book is a full-length study of the director's work, from his early social realist films set in the Basque Country to his later forays into the genres of the war and horror film. It offers an in-depth film-by-film analysis, while simultaneously exploring the function of the director in the contemporary Spanish context, the tension between directors and critics, and the question of national cinema in an area—the Basque Country—of heightened national and regional sensitivities.
Paul Grainge, Mark Jancovich, and Sharon Monteith
- Published in print:
- 2007
- Published Online:
- September 2012
- ISBN:
- 9780748619061
- eISBN:
- 9780748670888
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748619061.003.0006
- Subject:
- Film, Television and Radio, Film
This chapter discusses the competitors of the American film industry. The German film industry competed most successfully with America in that its domestic productions outweighed foreign imports in ...
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This chapter discusses the competitors of the American film industry. The German film industry competed most successfully with America in that its domestic productions outweighed foreign imports in the 1920s, and Britain put up a very good fight at the box office, with 1927 its annus mirabilis. However, protectionist measures would characterise a decade in which national cinemas sought to hold their own against Hollywood's incursions into other national cinemas. The American challenge to European and other cinemas was also underwritten by the federal support that the American film industry received from the US Government's Commerce Department, designed to support a developing industry. The chapter also includes the study, ‘Social Mobility and the Fantastic: German Silent Cinema’ by Thomas Elsaesser, a revisionist study that pays tribute to two classic film studies of the era — Siegfried Kracauer's sociological From Caligari to Hitler (1947) and Lotte Eisner's aesthetic study The Haunted Screen (1969). Elsaesser critiques what had become their ‘consensus’ view of the cinema of the period.Less
This chapter discusses the competitors of the American film industry. The German film industry competed most successfully with America in that its domestic productions outweighed foreign imports in the 1920s, and Britain put up a very good fight at the box office, with 1927 its annus mirabilis. However, protectionist measures would characterise a decade in which national cinemas sought to hold their own against Hollywood's incursions into other national cinemas. The American challenge to European and other cinemas was also underwritten by the federal support that the American film industry received from the US Government's Commerce Department, designed to support a developing industry. The chapter also includes the study, ‘Social Mobility and the Fantastic: German Silent Cinema’ by Thomas Elsaesser, a revisionist study that pays tribute to two classic film studies of the era — Siegfried Kracauer's sociological From Caligari to Hitler (1947) and Lotte Eisner's aesthetic study The Haunted Screen (1969). Elsaesser critiques what had become their ‘consensus’ view of the cinema of the period.
Yingjin Zhang
- Published in print:
- 2009
- Published Online:
- November 2016
- ISBN:
- 9780824833374
- eISBN:
- 9780824870584
- Item type:
- chapter
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824833374.003.0002
- Subject:
- Society and Culture, Asian Studies
This chapter examines the scale of the national used to occupy the central attention in film studies and argues that the resulting myth of a unified national cinema in a given nation-state must be ...
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This chapter examines the scale of the national used to occupy the central attention in film studies and argues that the resulting myth of a unified national cinema in a given nation-state must be demystified. It first reconceptualizes Chinese cinema in relation to the shifting problematics of national cinema and transnational film studies in both the theoretical and historical contexts. It then considers interdisciplinarity in Chinese film studies in the West and how it benefits audience study, along with the thorny issues of piracy and cross-mediality. It also discusses film studies from a different perspective than transnationalism and speculates on what might be gained from comparative film studies, arguing that it is a subfield larger than transnational film studies. The chapter urges scholars to move beyond the national cinema paradigm and to explore the transnational and comparative frameworks of film studies.Less
This chapter examines the scale of the national used to occupy the central attention in film studies and argues that the resulting myth of a unified national cinema in a given nation-state must be demystified. It first reconceptualizes Chinese cinema in relation to the shifting problematics of national cinema and transnational film studies in both the theoretical and historical contexts. It then considers interdisciplinarity in Chinese film studies in the West and how it benefits audience study, along with the thorny issues of piracy and cross-mediality. It also discusses film studies from a different perspective than transnationalism and speculates on what might be gained from comparative film studies, arguing that it is a subfield larger than transnational film studies. The chapter urges scholars to move beyond the national cinema paradigm and to explore the transnational and comparative frameworks of film studies.
Mette Hjort and Duncan Petrie (eds)
- Published in print:
- 2007
- Published Online:
- September 2012
- ISBN:
- 9780748625369
- eISBN:
- 9780748671151
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748625369.001.0001
- Subject:
- Film, Television and Radio, Film
The guiding premise of this book is that careful analysis of a range of small national cinemas can suggest a number of conceptual models for understanding the persistence of the nation in various ...
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The guiding premise of this book is that careful analysis of a range of small national cinemas can suggest a number of conceptual models for understanding the persistence of the nation in various transnational constellations. A dozen case studies have been selected to provide a broad geographical spread including Iceland, Denmark, Scotland, Ireland, Bulgaria, Hong Kong, Taiwan, Singapore, New Zealand, Cuba, Tunisia and Burkina Faso. These have been selected in relation to four major definitions – population size, geographical scale, GNP and relationship to a dominant or ruling nation. In film studies the national remains a significant term, albeit one that requires a paradigm shift in terms of how it is now located in relation to concepts of the transnational, the global and the regional. The political scientist Peter Katzenstein provides a helpful differentiation between processes of globalisation and internationalisation, where the latter emphasises the maintenance of nation states and cross border exchanges, as opposed to the sense of transformation and convergence signified by the former which in turn suggests a very productive conceptual frame for thinking about small nations. The contradictory pressures to engage simultaneously in processes of globalisation and national building in turn informs the operations of small national cinemas where participation in the global market place frequently co-exists with the promotion and nurturing of local film-makers and industries and the facilitation of cultural expression.Less
The guiding premise of this book is that careful analysis of a range of small national cinemas can suggest a number of conceptual models for understanding the persistence of the nation in various transnational constellations. A dozen case studies have been selected to provide a broad geographical spread including Iceland, Denmark, Scotland, Ireland, Bulgaria, Hong Kong, Taiwan, Singapore, New Zealand, Cuba, Tunisia and Burkina Faso. These have been selected in relation to four major definitions – population size, geographical scale, GNP and relationship to a dominant or ruling nation. In film studies the national remains a significant term, albeit one that requires a paradigm shift in terms of how it is now located in relation to concepts of the transnational, the global and the regional. The political scientist Peter Katzenstein provides a helpful differentiation between processes of globalisation and internationalisation, where the latter emphasises the maintenance of nation states and cross border exchanges, as opposed to the sense of transformation and convergence signified by the former which in turn suggests a very productive conceptual frame for thinking about small nations. The contradictory pressures to engage simultaneously in processes of globalisation and national building in turn informs the operations of small national cinemas where participation in the global market place frequently co-exists with the promotion and nurturing of local film-makers and industries and the facilitation of cultural expression.
Dolores Tierney
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9780748645732
- eISBN:
- 9781474445238
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748645732.003.0001
- Subject:
- Film, Television and Radio, Film
The introduction establishes the book’s argument; how transnational cinema has become central to Latin American filmmaking and film industries. It briefly traces the national and global processes ...
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The introduction establishes the book’s argument; how transnational cinema has become central to Latin American filmmaking and film industries. It briefly traces the national and global processes (neoliberalism) that have pushed these industries towards transnational modes. The introduction also explores theories of transnational cinema and how these fit within the political, postcolonial and auteurist discourses around Latin American national cinemas. It also explores how these discourses function in relation to Latin America’s art cinema resurgence. Centring on Madeinusa (Peru/Spain Claudia Llosa 2006) and La teta asustada (Peru/Spain Llosa 2009) the introduction examines their transnational (festival) funding structures and aesthetic features. The introduction concludes with an explanation of the rationale behind the structure of the book which places each transnational auteur within sections prefaced by accounts of the national industries (Mexico, Brazil and Argentina) in which they began and (in different ways) continue their filmmaking careers.Less
The introduction establishes the book’s argument; how transnational cinema has become central to Latin American filmmaking and film industries. It briefly traces the national and global processes (neoliberalism) that have pushed these industries towards transnational modes. The introduction also explores theories of transnational cinema and how these fit within the political, postcolonial and auteurist discourses around Latin American national cinemas. It also explores how these discourses function in relation to Latin America’s art cinema resurgence. Centring on Madeinusa (Peru/Spain Claudia Llosa 2006) and La teta asustada (Peru/Spain Llosa 2009) the introduction examines their transnational (festival) funding structures and aesthetic features. The introduction concludes with an explanation of the rationale behind the structure of the book which places each transnational auteur within sections prefaced by accounts of the national industries (Mexico, Brazil and Argentina) in which they began and (in different ways) continue their filmmaking careers.
Hikari Hori
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781501714542
- eISBN:
- 9781501709524
- Item type:
- chapter
- Publisher:
- Cornell University Press
- DOI:
- 10.7591/cornell/9781501714542.003.0001
- Subject:
- Film, Television and Radio, Film
The introductory chapter clarifies the goal of the book, which is to question the monolithic understanding of wartime film and to focus on the complexities and contradictions of national identity ...
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The introductory chapter clarifies the goal of the book, which is to question the monolithic understanding of wartime film and to focus on the complexities and contradictions of national identity formation of cultural texts in this period. The chapter begins by providing a brief summary of the era’s film industry. Then, it introduces the state of research of wartime Japanese film studies through an examination of the definition of ‘national policy film’ or kokusaku eiga. Finally, it underlines the significance of interdisciplinary and relational approaches to wartime Japanese film by discussing the methodologies and narratives of other national film histories that have informed this project. (105 words)Less
The introductory chapter clarifies the goal of the book, which is to question the monolithic understanding of wartime film and to focus on the complexities and contradictions of national identity formation of cultural texts in this period. The chapter begins by providing a brief summary of the era’s film industry. Then, it introduces the state of research of wartime Japanese film studies through an examination of the definition of ‘national policy film’ or kokusaku eiga. Finally, it underlines the significance of interdisciplinary and relational approaches to wartime Japanese film by discussing the methodologies and narratives of other national film histories that have informed this project. (105 words)
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).
Dong Hoon Kim
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781474421805
- eISBN:
- 9781474434782
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474421805.003.0003
- Subject:
- Film, Television and Radio, Film
This chapter looks into the varied efforts of filmmakers to develop Joseon film culture and to define what constituted Joseon film from the early 1920s up to the late 1930s. Specifically, it explores ...
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This chapter looks into the varied efforts of filmmakers to develop Joseon film culture and to define what constituted Joseon film from the early 1920s up to the late 1930s. Specifically, it explores filmmakers’ endeavours to find a way to develop cinematic aesthetics that reflected something uniquely Korean but at the same time integrated Joseon’s colonial status into their filmic representation of the colony Joseon. The inquiry begins with a discussion of the cinematic tropes and aesthetics developed by the 1926 film Arirang that laid the foundation for Joseon film production. The author discusses the film’s role in the discursive formation of Joseon cinema and cinematic representation of Joseon. Then the chapter analyses a wide variety of films, recurring stylistic patterns, and critical questions Joseon filmmakers considered when they tried to cinematize their respective versions of a Joseon image.Less
This chapter looks into the varied efforts of filmmakers to develop Joseon film culture and to define what constituted Joseon film from the early 1920s up to the late 1930s. Specifically, it explores filmmakers’ endeavours to find a way to develop cinematic aesthetics that reflected something uniquely Korean but at the same time integrated Joseon’s colonial status into their filmic representation of the colony Joseon. The inquiry begins with a discussion of the cinematic tropes and aesthetics developed by the 1926 film Arirang that laid the foundation for Joseon film production. The author discusses the film’s role in the discursive formation of Joseon cinema and cinematic representation of Joseon. Then the chapter analyses a wide variety of films, recurring stylistic patterns, and critical questions Joseon filmmakers considered when they tried to cinematize their respective versions of a Joseon image.
Mette Hjort and Duncan Petrie
- Published in print:
- 2007
- Published Online:
- September 2012
- ISBN:
- 9780748625369
- eISBN:
- 9780748671151
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748625369.003.0004
- Subject:
- Film, Television and Radio, Film
As a small and relatively peripheral nation, Ireland's film industry is largely state-funded with additional support from European sources and co-production deals with the commercial industry. It ...
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As a small and relatively peripheral nation, Ireland's film industry is largely state-funded with additional support from European sources and co-production deals with the commercial industry. It produces between 10 and 15 feature films per year as well as a range of shorts, documentaries and animation films. Ireland is also a popular location for large-scale American and British film and television productions, which bring additional economic and training benefits to the local indigenous industry. Although this industry only emerged relatively recently in the 1980s/1990s, Ireland has had a presence in the American and British film industries since the earliest days of filmmaking and a range of dominant tropes has emerged in the representation of Ireland and the Irish. Much indigenous filmmaking is a response to these traditions of representation as well as a response to the rapid economic and social changes that have characterised Ireland since the 1980s. Indeed, Irish cinema has played a key role in tracking and representing these transformations so that, despite the low profile of Irish cinema internationally (with the exception of Neil Jordan and Jim Sheridan) the indigenous cinema has played a key role in the cultural re-imagining of Ireland and the Irish at home.Less
As a small and relatively peripheral nation, Ireland's film industry is largely state-funded with additional support from European sources and co-production deals with the commercial industry. It produces between 10 and 15 feature films per year as well as a range of shorts, documentaries and animation films. Ireland is also a popular location for large-scale American and British film and television productions, which bring additional economic and training benefits to the local indigenous industry. Although this industry only emerged relatively recently in the 1980s/1990s, Ireland has had a presence in the American and British film industries since the earliest days of filmmaking and a range of dominant tropes has emerged in the representation of Ireland and the Irish. Much indigenous filmmaking is a response to these traditions of representation as well as a response to the rapid economic and social changes that have characterised Ireland since the 1980s. Indeed, Irish cinema has played a key role in tracking and representing these transformations so that, despite the low profile of Irish cinema internationally (with the exception of Neil Jordan and Jim Sheridan) the indigenous cinema has played a key role in the cultural re-imagining of Ireland and the Irish at home.
Mette Hjort and Duncan Petrie
- Published in print:
- 2007
- Published Online:
- September 2012
- ISBN:
- 9780748625369
- eISBN:
- 9780748671151
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748625369.003.0005
- Subject:
- Film, Television and Radio, Film
This article identifies and explores a central paradox which beset Scottish cinema of the early 2000s. On one hand, that period continued and confirmed the notable achievements of the late 1990s: ...
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This article identifies and explores a central paradox which beset Scottish cinema of the early 2000s. On one hand, that period continued and confirmed the notable achievements of the late 1990s: enhanced levels of indigenous feature production were sustained into the new century and significant new directorial voices (such as David MacKenzie and Richard Jobson) continued to emerge. Yet on the other, many figures active within twenty-first-century Scottish film culture understood the post-2000 period to be one of collective disappointment and unfulfilled expectation. With a particular focus on two central trends – a decline in average feature production budget sizes and an increase in feature co-production activity between Scottish and European (especially Scandinavian) partners – this article argues that the 2000s were in fact a period of significant consolidation for Scottish cinema. As well as seeking to understand the means by which that consolidation took place, the arguments presented here also speculate on the possible consequences of that fact for academic criticism of Scottish film, arguing that a traditional critical focus of questions of national identity and representation has become harder to sustain in the face of increasingly diverse filmmaking practices emerging from Scotland.Less
This article identifies and explores a central paradox which beset Scottish cinema of the early 2000s. On one hand, that period continued and confirmed the notable achievements of the late 1990s: enhanced levels of indigenous feature production were sustained into the new century and significant new directorial voices (such as David MacKenzie and Richard Jobson) continued to emerge. Yet on the other, many figures active within twenty-first-century Scottish film culture understood the post-2000 period to be one of collective disappointment and unfulfilled expectation. With a particular focus on two central trends – a decline in average feature production budget sizes and an increase in feature co-production activity between Scottish and European (especially Scandinavian) partners – this article argues that the 2000s were in fact a period of significant consolidation for Scottish cinema. As well as seeking to understand the means by which that consolidation took place, the arguments presented here also speculate on the possible consequences of that fact for academic criticism of Scottish film, arguing that a traditional critical focus of questions of national identity and representation has become harder to sustain in the face of increasingly diverse filmmaking practices emerging from Scotland.
Carolina Rocha
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781786940544
- eISBN:
- 9781786944955
- Item type:
- book
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781786940544.001.0001
- Subject:
- Film, Television and Radio, Film
Argentine Cinema and National Identity covers the development of Argentine cinema since the late 1950s to the mid-1970s, a period that has been understudied. Marked by tumultuous political events, ...
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Argentine Cinema and National Identity covers the development of Argentine cinema since the late 1950s to the mid-1970s, a period that has been understudied. Marked by tumultuous political events, these decades witnessed debates about Argentina’s modernity and tradition that affected film production and consumption. Two film genres, the historical film and the gauchesque— a genre based on outlaw gauchos was crucial for nation-building in the nineteenth century—generated great local interest and high expectations among film producers and distributors. The notion of national identity guides the analysis of certain emblematic films that were well-received by domestic audiences and engaged with the issue of Argentine identity. This manuscript investigates the way Argentine cinema positioned itself when facing the competition of glossy American films by representing the past and the heroic founding figures so as to bridge the stark divisions between the Argentine left and right in the late 1960s.Less
Argentine Cinema and National Identity covers the development of Argentine cinema since the late 1950s to the mid-1970s, a period that has been understudied. Marked by tumultuous political events, these decades witnessed debates about Argentina’s modernity and tradition that affected film production and consumption. Two film genres, the historical film and the gauchesque— a genre based on outlaw gauchos was crucial for nation-building in the nineteenth century—generated great local interest and high expectations among film producers and distributors. The notion of national identity guides the analysis of certain emblematic films that were well-received by domestic audiences and engaged with the issue of Argentine identity. This manuscript investigates the way Argentine cinema positioned itself when facing the competition of glossy American films by representing the past and the heroic founding figures so as to bridge the stark divisions between the Argentine left and right in the late 1960s.
Margit Grieb and Will Lehman
- Published in print:
- 2007
- Published Online:
- March 2012
- ISBN:
- 9780748623082
- eISBN:
- 9780748651122
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748623082.003.0006
- Subject:
- Film, Television and Radio, Film
Television in Germany represents an especially interesting case within Europe due to the country's division after 1949 into two sovereign nations, with radically different trajectories concerning the ...
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Television in Germany represents an especially interesting case within Europe due to the country's division after 1949 into two sovereign nations, with radically different trajectories concerning the role of the arts. After World War II, developments in television commenced in the Federal Republic of Germany and resulted in the establishment of the first public broadcasting station, the NWDR, in 1952, and two years later, the ARD. In the 1950s and early 1960s, initial attempts to establish a productive relationship between cinema and television were underway and feature films began to be broadcast on TV. However, these cross-media experiments were not well received by critics or the public and were given the derogatory label ‘Pantoffelkino’ (slipper cinema). Furthermore, many within the film industry blamed the dramatic decrease in cinema spectatorship on the emergence of television, tainting the reputation of the latter. It was not until the 1970s that television began to play an important role in the development of a German national cinema.Less
Television in Germany represents an especially interesting case within Europe due to the country's division after 1949 into two sovereign nations, with radically different trajectories concerning the role of the arts. After World War II, developments in television commenced in the Federal Republic of Germany and resulted in the establishment of the first public broadcasting station, the NWDR, in 1952, and two years later, the ARD. In the 1950s and early 1960s, initial attempts to establish a productive relationship between cinema and television were underway and feature films began to be broadcast on TV. However, these cross-media experiments were not well received by critics or the public and were given the derogatory label ‘Pantoffelkino’ (slipper cinema). Furthermore, many within the film industry blamed the dramatic decrease in cinema spectatorship on the emergence of television, tainting the reputation of the latter. It was not until the 1970s that television began to play an important role in the development of a German national cinema.
Mette Hjort and Duncan Petrie
- Published in print:
- 2007
- Published Online:
- September 2012
- ISBN:
- 9780748625369
- eISBN:
- 9780748671151
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9780748625369.003.0007
- Subject:
- Film, Television and Radio, Film
This chapter asks, with specific reference to Hong Kong, whether a national cinema can be produced in the absence of a nation-state. Comparisons with Palestinian cinema, which is disconnected from an ...
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This chapter asks, with specific reference to Hong Kong, whether a national cinema can be produced in the absence of a nation-state. Comparisons with Palestinian cinema, which is disconnected from an independent nation state, help to shed light on the specificities of the New Hong Kong Cinema and its relation to the phenomenon of national cinema. Films by Wong Kar-wai, Ann Hui, Fruit Chan, Alan Mak and Andrew Lau are shown to reflect thoughtfully on Hong Kong's re-inscription into China following the Handover in 1997.Less
This chapter asks, with specific reference to Hong Kong, whether a national cinema can be produced in the absence of a nation-state. Comparisons with Palestinian cinema, which is disconnected from an independent nation state, help to shed light on the specificities of the New Hong Kong Cinema and its relation to the phenomenon of national cinema. Films by Wong Kar-wai, Ann Hui, Fruit Chan, Alan Mak and Andrew Lau are shown to reflect thoughtfully on Hong Kong's re-inscription into China following the Handover in 1997.
Dong Hoon Kim
- Published in print:
- 2017
- Published Online:
- January 2018
- ISBN:
- 9781474421805
- eISBN:
- 9781474434782
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474421805.003.0001
- Subject:
- Film, Television and Radio, Film
The introduction presents the main conceptual framework and historiographical methods of the book, detailing the author’s efforts to redefine the concept of the cinema of colonial Korea or “Joseon ...
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The introduction presents the main conceptual framework and historiographical methods of the book, detailing the author’s efforts to redefine the concept of the cinema of colonial Korea or “Joseon (colonial Korea) cinema.”Less
The introduction presents the main conceptual framework and historiographical methods of the book, detailing the author’s efforts to redefine the concept of the cinema of colonial Korea or “Joseon (colonial Korea) cinema.”
Yiman Wang
- Published in print:
- 2013
- Published Online:
- November 2016
- ISBN:
- 9780824836078
- eISBN:
- 9780824871178
- Item type:
- book
- Publisher:
- University of Hawai'i Press
- DOI:
- 10.21313/hawaii/9780824836078.001.0001
- Subject:
- Society and Culture, Asian Studies
From melodrama to Cantonese opera, from silents to 3D animated film, this book traces cross-Pacific film remaking over the last eight decades, and revolutionizes our understanding of Chinese cinema ...
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From melodrama to Cantonese opera, from silents to 3D animated film, this book traces cross-Pacific film remaking over the last eight decades, and revolutionizes our understanding of Chinese cinema as national cinema. The book argues for a multi-local process of co-constitution and reconstitution. In this spirit, it analyzes how southern Chinese cinema (huanandianying) morphed into Hong Kong cinema through trans-regional and trans-national interactions that also produced a vision of Chinese cinema. Among the book's highlights are a rereading of The Goddess—one of the best-known silent Chinese films in the West—from the perspective of its wartime Mandarin-Cantonese remake; the excavation of a hybrid genre (the Western costume Cantonese opera film) inspired by Hollywood's fantasy films of the 1930s and produced in Hong Kong well into the mid-twentieth century; and a rumination on Hollywood's remake of Hong Kong's Infernal Affairs and the wholesale incorporation of “Chinese elements” in Kung Fu Panda 2. Positing a structural analogy between the utopic vision, the national cinema, and the location-specific collective subject position, the book traces their shared urge to infinitesimally approach, but never fully and finitely reach a projected goal. This energy precipitates the ongoing processes of cross-Pacific film remaking, which constitute a crucial site for imagining and enacting (without absolving) issues of national and regional border politics. These issues unfold in relation to global formations such as colonialism, Cold War ideology, and postcolonial, postsocialist globalization. As such, the book contributes to the ongoing debate on (trans-)national cinema from the unique perspective of century-long border-crossing film remaking.Less
From melodrama to Cantonese opera, from silents to 3D animated film, this book traces cross-Pacific film remaking over the last eight decades, and revolutionizes our understanding of Chinese cinema as national cinema. The book argues for a multi-local process of co-constitution and reconstitution. In this spirit, it analyzes how southern Chinese cinema (huanandianying) morphed into Hong Kong cinema through trans-regional and trans-national interactions that also produced a vision of Chinese cinema. Among the book's highlights are a rereading of The Goddess—one of the best-known silent Chinese films in the West—from the perspective of its wartime Mandarin-Cantonese remake; the excavation of a hybrid genre (the Western costume Cantonese opera film) inspired by Hollywood's fantasy films of the 1930s and produced in Hong Kong well into the mid-twentieth century; and a rumination on Hollywood's remake of Hong Kong's Infernal Affairs and the wholesale incorporation of “Chinese elements” in Kung Fu Panda 2. Positing a structural analogy between the utopic vision, the national cinema, and the location-specific collective subject position, the book traces their shared urge to infinitesimally approach, but never fully and finitely reach a projected goal. This energy precipitates the ongoing processes of cross-Pacific film remaking, which constitute a crucial site for imagining and enacting (without absolving) issues of national and regional border politics. These issues unfold in relation to global formations such as colonialism, Cold War ideology, and postcolonial, postsocialist globalization. As such, the book contributes to the ongoing debate on (trans-)national cinema from the unique perspective of century-long border-crossing film remaking.
Carolina Rocha
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781786940544
- eISBN:
- 9781786944955
- Item type:
- chapter
- Publisher:
- Liverpool University Press
- DOI:
- 10.5949/liverpool/9781786940544.003.0004
- Subject:
- Film, Television and Radio, Film
In this chapter, I discuss the three cinema laws were passed during military governments of Onganía, Levingston, and Lanusse between 1996 and 1973 as well as the challenges that Argentine cinema ...
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In this chapter, I discuss the three cinema laws were passed during military governments of Onganía, Levingston, and Lanusse between 1996 and 1973 as well as the challenges that Argentine cinema faced during these years. Different sectors (producer, directors, and exhibitors) had contrasting opinions about subsidies for cinema. I also discuss the creation of the Film Rating Board.Less
In this chapter, I discuss the three cinema laws were passed during military governments of Onganía, Levingston, and Lanusse between 1996 and 1973 as well as the challenges that Argentine cinema faced during these years. Different sectors (producer, directors, and exhibitors) had contrasting opinions about subsidies for cinema. I also discuss the creation of the Film Rating Board.
Alistair Fox
- Published in print:
- 2017
- Published Online:
- May 2018
- ISBN:
- 9781474429443
- eISBN:
- 9781474438438
- Item type:
- chapter
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474429443.003.0001
- Subject:
- Film, Television and Radio, Film
This chapter outlines the generic characteristics, categories, and dominant tropes of the coming-of-age film, relating it to the Bildungsroman in literature, and showing the influence on its ...
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This chapter outlines the generic characteristics, categories, and dominant tropes of the coming-of-age film, relating it to the Bildungsroman in literature, and showing the influence on its evolution of the French New Wave and European art cinema. The chapter concludes by speculating on why coming-of-age films are such a prominent feature in national cinemas, arguing that they play an important role in the development of collective memory and the transmission and reshaping of cultural values.Less
This chapter outlines the generic characteristics, categories, and dominant tropes of the coming-of-age film, relating it to the Bildungsroman in literature, and showing the influence on its evolution of the French New Wave and European art cinema. The chapter concludes by speculating on why coming-of-age films are such a prominent feature in national cinemas, arguing that they play an important role in the development of collective memory and the transmission and reshaping of cultural values.
C. Claire Thomson
- Published in print:
- 2018
- Published Online:
- September 2018
- ISBN:
- 9781474424134
- eISBN:
- 9781474444712
- Item type:
- book
- Publisher:
- Edinburgh University Press
- DOI:
- 10.3366/edinburgh/9781474424134.001.0001
- Subject:
- Film, Television and Radio, Film
The first book-length study in English of a national corpus of state-sponsored informational film, this book traces how Danish shorts on topics including social welfare, industry, art and ...
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The first book-length study in English of a national corpus of state-sponsored informational film, this book traces how Danish shorts on topics including social welfare, industry, art and architecture were commissioned, funded, produced and reviewed from the inter-war period to the 1960s. For three decades, state-sponsored short filmmaking educated Danish citizens, promoted Denmark to the world, and shaped the careers of renowned directors like Carl Th. Dreyer. Examining the life cycle of a representative selection of films, and discussing their preservation and mediation in the digital age, this book presents a detailed case study of how informational cinema is shaped by, and indeed shapes, its cultural, political and technological contexts.The book combines close textual analysis of a broad range of films with detailed accounts of their commissioning, production, distribution and reception in Denmark and abroad, drawing on Actor-Network Theory to emphasise the role of a wide range of entities in these processes. It considers a broad range of genres and sub-genres, including industrial process films, public information films, art films, the city symphony, the essay film, and many more. It also maps international networks of informational and documentary films in the post-war period, and explores the role of informational film in Danish cultural and political history.Less
The first book-length study in English of a national corpus of state-sponsored informational film, this book traces how Danish shorts on topics including social welfare, industry, art and architecture were commissioned, funded, produced and reviewed from the inter-war period to the 1960s. For three decades, state-sponsored short filmmaking educated Danish citizens, promoted Denmark to the world, and shaped the careers of renowned directors like Carl Th. Dreyer. Examining the life cycle of a representative selection of films, and discussing their preservation and mediation in the digital age, this book presents a detailed case study of how informational cinema is shaped by, and indeed shapes, its cultural, political and technological contexts.The book combines close textual analysis of a broad range of films with detailed accounts of their commissioning, production, distribution and reception in Denmark and abroad, drawing on Actor-Network Theory to emphasise the role of a wide range of entities in these processes. It considers a broad range of genres and sub-genres, including industrial process films, public information films, art films, the city symphony, the essay film, and many more. It also maps international networks of informational and documentary films in the post-war period, and explores the role of informational film in Danish cultural and political history.
Valentina Vitali
- Published in print:
- 2016
- Published Online:
- September 2016
- ISBN:
- 9780719099656
- eISBN:
- 9781526109774
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719099656.003.0006
- Subject:
- Film, Television and Radio, Film
A brief historical overview of the discourses by which in Britain, until the late 1990s, popular genres were excluded from accounts of national cinemas, and of the gradual but very slow recognition, ...
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A brief historical overview of the discourses by which in Britain, until the late 1990s, popular genres were excluded from accounts of national cinemas, and of the gradual but very slow recognition, from the late 1990s, of these genres as worthy objects of film studies.Less
A brief historical overview of the discourses by which in Britain, until the late 1990s, popular genres were excluded from accounts of national cinemas, and of the gradual but very slow recognition, from the late 1990s, of these genres as worthy objects of film studies.
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/9780824835941.003.0007
- Subject:
- Society and Culture, Asian Studies
This book has examined the shift in Japanese cinematic modes from the film studio era to the post-studio era, with particular emphasis on their relation to recent developments in digital technology ...
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This book has examined the shift in Japanese cinematic modes from the film studio era to the post-studio era, with particular emphasis on their relation to recent developments in digital technology and the transformation in the critical framework from the national to the transnational cinema. This concluding chapter considers the extent to which the national cinema has truly become transnational and asks whether the unambiguous structural equalities between the national cinema and the studio system or between the transnational disposition and the post-studio production mode are viable. It argues that the complicit relationship between America's universalism and Japan's particularism has influenced Japanese cinema studies. The chapter proposes a few research interests that might reveal the new cinema's counterintuitive connection with the national by focusing on television cinema and Japanese cinema's relationship to the kontentsu sangyo—the business of producing and selling digital media products—as well as Japan's national policy regarding media content.Less
This book has examined the shift in Japanese cinematic modes from the film studio era to the post-studio era, with particular emphasis on their relation to recent developments in digital technology and the transformation in the critical framework from the national to the transnational cinema. This concluding chapter considers the extent to which the national cinema has truly become transnational and asks whether the unambiguous structural equalities between the national cinema and the studio system or between the transnational disposition and the post-studio production mode are viable. It argues that the complicit relationship between America's universalism and Japan's particularism has influenced Japanese cinema studies. The chapter proposes a few research interests that might reveal the new cinema's counterintuitive connection with the national by focusing on television cinema and Japanese cinema's relationship to the kontentsu sangyo—the business of producing and selling digital media products—as well as Japan's national policy regarding media content.
