From transnational cinemas to transnational screens (original) (raw)
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The editorial reflects on the evolution of Transnational Film Studies and announces a transition from 'Transnational Cinemas' to 'Transnational Screens' to adapt to the changing landscape of film, television, and digital media over the past decade. The editors highlight the establishment of the 'Transnational Cinemas Scholarly Interest Group' as marking a second phase in transnational cinema studies, emphasizing a pluralistic approach and the importance of community engagement among scholars. The editorial celebrates the support and contributions from the academic community while inviting fresh perspectives and contributions that embrace the multiplicity of transnational screens.
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This chapter aims to present an overview of the history of the transnational in film studies, and consider the ways in which the discipline has responded to developments in the social sciences following a transnational momentum in film studies from 2005, with the following years seeing a number of conceptual and theoretical essays and edited volumes and the founding of a journal, Transnational Cinemas in 2010. It outlines the key areas of focus in the first phase of transnational cinema studies: migration and cinema and exilic and diasporic filmmaking; transnationalising readings of national and regional cinema; historical readings of transnational cinema; and film festival studies. Following this, the chapter discusses approaches to transnational film theory through an analysis of a selection of definitional essays on the subject. The final section of the chapter presents an overview of the second phase of transnational film studies, and considers the expanded reach of the transnational to the many fields that make up the discipline.
Book Review: Transnational Cinema: The Film Reader (Elizabeth Ezra and Terry Rowden)
Open Jornal of Social Science Research, 2014
Transnational cinema: The film reader (Ezra & Rowden, 2006) is an anthology of papers on transnational cinema from the two earlier decades. It introduces the emerging debates of the transnational scene. It discusses transnational cinema as the most transportable art form as integration of digital technology has caused the rapid disappearance of permeable national media borders. Transnational cinema is characterized by awareness and diversity, and a speed capable of linking people across nations in minimum possible time. It affects the global economy and the cinematic literacy of its audiences and becomes the source of anxiety worldwide. Such themes draw on much discussed worldwide naturalization of Hollywood by taking the space of national cinemas in different countries. Transnational cinema: The film reader discusses the cultural repercussions of a global shift from multiple national cinemas to a diverse transnational cinema; the movement of Hollywood into the era of the multiplex; multicultural and diasporic interventions; and the ethics and aesthetics of Hollywood mis-èn-scene.
Distribution, the Forgotten Element in Transnational Cinema
Intellect, 2011
This article addresses the circulation of Latin American film in the United States. The background to this research is our concern that activists, journalists, academics, film-makers and policy-makers who seek a diverse film sector tend to focus on production to the exclusion of distribution and exhibition. An absence of publicly available data adds to the problem. In addition to examining the wider political economy of Latin American cinema in the United States, we offer case studies of success and failure.
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Adam Muller, ed., Concepts of Culture: Art, Politics, and Society (Calgary: U of Calgary Press), 2005, 2005