Paradoxically, as Van Heuckelom points out, by portraying a cinematic road trip through the continent of post-Berlin Wall Europe, Baier displaces Switzerland from the centre of attention, while simultaneously trying to save it from its political isolation.
The postwar period also saw the emergence and proliferation of film festivals, which today function as nodes in a vast global network that enables the migration of film products, ideas, and technologies across borders. Section commentaries here thus include considerable if not exhaustive cross-referencing.
Collections of essays on transnational cinemas quite commonly disregard the possibility of addressing films more closely. The existence today of festivals devoted to films about migration is a testament to the increasing prominence of cinematic representations of the migrant experience.
Work in the subject has subsequently illuminated virtually all areas of cinema and media scholarship. Film festivals constitute interstitial spaces of exchange that catalyze the global circulation and reproduction of film culture.
The Estonian film historian reviews the advantages and disadvantages of international co-operation and film financing through the analysis of select Estonian film co-production cases.
Redrawing the Lines of a New Europe The volume begins with several essays exploring films about changing borderlines between Eastern and Western Europe in the twenty-first century. Traditionally, as the editors point out, there has been a certain resistance on the part of European film scholars to discussing current conditions of post European cinema beyond the emphasis on the historical divide between East and West.
Through the analysis of the film, Mai demonstrates the limits of ideological and national identification in relation to a divided landscape of the Soviet past dealing with different presents.
Due to the very nature of edited volumes on transnational cinemas, this collection of essays is extremely broad in its scope, encompassing discussions on Austrian, Balkan, British, Bulgarian, Estonian, French-Armenian, German, Greek, Lithuanian, Polish, and Romanian films.
The chapters of the first section of the volume debunk one-sided East-to-West integration by taking into account various issues related to the multi-directional lines of movement in present-day Europe. As an outgrowth of s feminist film studies, studies of film masculinity were initially and often remain concerned with the politics of representation, linking screen images and narratives to conditions in historical reality while often simultaneously theorizing men and masculinity in terms of psychoanalytic models derived from Sigmund Freud b.
It suggested that 69 percent of roles were reserved for white actors and another 8. Projecting Ethnicity and Race: Immanuel NessHuman migration — the movement of people across political boundaries — has always been a signific As the author argues, the strategy of comic de-dramatisation, with an orientation towards the lives of ordinary people, is only possible in a new Poland that has finally acquired a critical distance from its communist past.
This volume is no exception: Davies, Jude, and Carol R. Most collections are offered as scholarly resources rather than as textbook surveys, though the focus of Sharrett on violence and postmodernity makes it a possible course text notably, masculinity is among its key concerns but not its central one.Music in Contemporary Indian Film: Memory, Voice, Identity provides a rich and detailed look into the unique dimensions of music in Indian film.
Music is at the center of Indian cinema, and India’s film music industry has a far-reaching impact on popular, folk, and classical music across the subcontinent and the South Asian diaspora. Theory-driven essay collection showing major, formative work in feminist film studies, film psychoanalysis, and ideological critique.
Some focus on classical Hollywood but also attention to early cinema and precinematic attractions, Chinese cinema, contemporary US film, and television comedy and drama. Abstract Probably more than any other European country, contemporary Britain has been deeply marked by mass immigration and diaspora, in particular from India and Pakistan, and British Asian cinema has joined the often rather polemic media debate about the country's “multiculturalism” as an outstanding example of diasporic reflections on the.
Spanish Cinema during the dictatorship: New Spanish Cinema () Spain made its first attempt to be part of the European common market in ; the country wanted to prove that Spain was not the fascist, retrograde it used to be; Spain was going through a new phase of liberalization.
Art and Independent Cinema, Contemporary European Art Cinema, Immigration Studies, Global Cinemas, Neoliberalism, Contemporary Greek Cinema, and 4 more Film Studies, Contemporary European Cinema, European Cinema, and Romani Studies.
About Us. In the Film and Media Studies Program, students explore the theory and history of cinema and television, analyze aesthetics and production of multiple media forms, and also work in the production of film, video, and digital media.Download