Browse results

You are looking at 1 - 10 of 136 items for :

  • Television & Film x
  • Comparative Studies & World Literature x
  • Search level: All x
Clear All

Abstract

The answers below touch on three different meanings of world cinema. First, world cinema is the acknowledgement of an existing cinema originated in the diversity of geographical and cultural contexts from all over the globe and expresses the rise of multiple local cinemas on a common international scene. Second, world cinema denotes to the films that proved to be recognizable as artistically valuable through these channels (festivals, critics, niche distributors) and conveys the idea that only certain types of films would be accepted on the international scene. And third, world cinema relates to a more specific type of films, that are not so many but gives a particular visibility to an immensely vast phenomenon with films that are either “without borders”, or mixing various origins and references. By keeping these in mind, the research on world cinema should be issue based, acknowledging de vast rainbow of various ways to make cinema, related with socio-economical and cultural contexts, political environment, inscription in various aspects of history of cinema aesthetics and other artistic and cultural means of expressions, local, regional and global. The films of world cinema are, or at least should be objects of research, objects of thinking, but also if not primarily objects of love.

Free access
In: Studies in World Cinema
Free access
In: Studies in World Cinema
Free access
In: Studies in World Cinema

Abstract

This chapter argues that literature and contemporary art can and do play an important decentering role in accounts of our culture and of how the world works. It challenges conventional attachments to single cultures and the notion of belonging as increasingly understood as belonging globally, contrasting the notion of the “global” with that of the “planetary”. It suggests that planetarity, as outlined in works such as The Planetary Turn by Elias and Moraru, is a desired way forward in order to achieve a balanced belonging rooted in environmental, decentered ethics and in aesthetics. Citing contemporary art-work such as the installations of Rirkrit Tiravanija, the “atlas” works of Brigitte Williams and the performance art of Guillermo Gómez Peña, the paper advocates an approach that favours the periphery rather than an all-invading Western-dominated centre. Such an approach serves to emphasize the contours of the world to the point where we can think the world as a single, immense periphery, thereby enabling us to see the “Other” as someone we can genuinely get to know.

In: Spaces of Longing and Belonging

Abstract

This chapter argues that literature and contemporary art can and do play an important decentering role in accounts of our culture and of how the world works. It challenges conventional attachments to single cultures and the notion of belonging as increasingly understood as belonging globally, contrasting the notion of the “global” with that of the “planetary”. It suggests that planetarity, as outlined in works such as The Planetary Turn by Elias and Moraru, is a desired way forward in order to achieve a balanced belonging rooted in environmental, decentered ethics and in aesthetics. Citing contemporary art-work such as the installations of Rirkrit Tiravanija, the “atlas” works of Brigitte Williams and the performance art of Guillermo Gómez Peña, the paper advocates an approach that favours the periphery rather than an all-invading Western-dominated centre. Such an approach serves to emphasize the contours of the world to the point where we can think the world as a single, immense periphery, thereby enabling us to see the “Other” as someone we can genuinely get to know.

In: Spaces of Longing and Belonging
Author:

Abstract

This article analyzes the work of Chloé Zhao and its reception in order to explore the role of female auteurs in 21st century world cinema. By comparing Zhao to Kelly Reichardt, another US director acclaimed internationally for distinctive works of US regional realism, the essay argues that US independent women directors critique American cultural hegemony and the global dominance of Hollywood both through the subject matter and formal structures of their films and through their positioning within the discourse of world cinema auteurism. After analyzing the authorial personae of both directors as constructed in their films and press reception, the essay offers close readings of Reichardt’s Certain Women and Zhao’s The Rider, both set in the US West, with specific attention to the perspectives of central Native American characters. The readings demonstrate how the filmmakers use realism to locate a singular, gendered authorial perspective on the world.

Open Access
In: Studies in World Cinema
Author:

Abstract

While the early films of Spanish director Luis Buñuel have proven easy to categorize within the albeit late Surrealist and avant-garde period in France of the late 1920s, not least because of Buñuel’s own proclamations of allegiance to the movement, the further experimentation with film language evident in his later films has earned him the reputation as one of the founding fathers of what would be defined – much later and in comparatively incoherent terms – as European auteur cinema. This essay seeks to determine the nature of the “experimental” in Buñuel’s postavant-gardist work.

In: Avant-Garde Film
Author:

Abstract

While the early films of Spanish director Luis Buñuel have proven easy to categorize within the albeit late Surrealist and avant-garde period in France of the late 1920s, not least because of Buñuel’s own proclamations of allegiance to the movement, the further experimentation with film language evident in his later films has earned him the reputation as one of the founding fathers of what would be defined – much later and in comparatively incoherent terms – as European auteur cinema. This essay seeks to determine the nature of the “experimental” in Buñuel’s postavant-gardist work.

In: Avant-Garde Film
In: El actual cine poético hispanoamericano e íbero-peninsular
In: Avant-Garde Film