World Cinema: Table of Contents

Contents

Click bolded chapter titles for summaries

Introduction 1

The antecedents: world literature 15
International foreign, global, or world cinema 18
Hollywood is not world cinema 21
Polycentric, polymorphic, and polyvalent world cinema 23
- Polycentric world cinema 25
- Polymorphic world cinema 27
- Polyvalent world cinema 28
What world cinema is: from watching films to mapping cinema 30

Watching films in theaters 38
The rise of the multiplex 41
Art house cinemas 44
Film societies, cine clubs, touring theaters 48
Mobile media: VHS, VCD, DVD 51
In focus 2.1: Piracy 53
Home viewing, streaming, video on demand, and mobile scenes 56
- Home viewing 56
- Netflix and the culture of streaming films 58
- The long tail 59
- YouTube 60
In focus 2.2: Translation, subtitles, dubbing 62
Digital projection in theaters 66

Hollywood’s interventions 77
European Production models 79
- Forms of private funding 80
- Public funding and state support 81
Asian production models 84
- China 84
- Hong Kong 87
- Japan 89
- South Korea 91
Indian production models 94
Nigerian cinema/Nollywood 97
Other models of production 99
- Co-production funds 99
- Film festivals’ production funds 100
- Individual production of films 101

Film festivals and national cinema 107
Film festivals and art cinema 108
Film festivals and world cinema 109
- Global networks 111
- A festival film? Producing the genre of world cinema 113
In focus 4.1: Discovering Iranian cinema 117
In focus 4.2: The creation of the Romanian New Wave 120
Digital delivery and the creation of global film culture 123
The importance of smaller and regional film festivals: the Sarajevo Film Festival 125

Bollywood: what is in a name? 135
Indian cinema’s spheres of influence 140
- Influence of Indian cinema on non-Indian audiences 141
- Indian cinema and the diaspora 144
Indian cinema after Bollywoodization 148
- From family dramas to blockbusters 148
- Hindi mainstream cinema after Bollywood 151
In focus 5.1: Rajkumar Hirani and Ram Gopal Varma: mavericks transform the mainstream 153
- Cinemas of multiple languages 156
In focus 5.2: Mani Ratnam: negotiating the local and the national 157
- Other examples of language cinemas 159
- The cinema of new social realism 160
In focus 5.3: New and bold currents in Indian cinema: Liar’s Dice (2014), Asha Jaoar Majhe/ Labor of Love (2014), and Qissa: The tale of a Lonely Ghost (2013) 163
Indian theoretical perspectives 167
- Looking, frontality, and framing 168
- Aesthetics of affect 170
- Forms of narrative/storytelling 172

Nollywood: what is in a name? 176
- African cinema and Nollywood 177
Understanding Nollywood 179
- Production of video-films 180
- Spectatorship 182
- Ethnicity and languages 185
- Postcolony and the spectral 186
- Commodity and religious imaginary 187
- Narrative form and aesthetics 190
In focus 6.1: Living in Bondage (Chris Obi Rapu, 1992/1993) 192
The New Nollywood 194
In focus 6.2: New Nollywood auteurs: Tunde Kelani, Kunle Afolayan, and Obi Emelonye 195
Nollywood’s sphere of influence 201
- Nollywood, Africa, and African cinema 201
- Nollywood and video-film industries within Africa 203
- Nollywood in the global diaspora 204
- The influence of Nollywood’s production style 205
Nollywood and world cinema 206
- The popular and pleasure in world cinema and Nollywood 209
In focus 6.3: Bamako (2006): a mise-en-scène of Nollywood, African cinema, and world cinema 210
African theoretical perspectives 215

Chapter 7: Asian Cinema 225

Asia, regionalization, and Asian cinema 225
- The emergence of Asian cinema as a film market 227
- Asian cinema and film festivals 230
- Asian cinema as a scholarly discourse 232
- Asian cinema, geography, and critical regionals 234
Inter-Asian cultural sphere 236
- Korea’s Hallyu 236
- Kawaii culture: Japan’s (re-)entry into Asia regionalization 238
Categories of inter-Asian cinemas 239
- Co-production 239
- Pan-Asian cinema 242
In focus 7.1: Pan-Asianism in Chen Kaige’s Wu ji: The Promise (2005) and Peter Chan’s Ru guo • Ali/Perhaps Love (2005) 243
- Regional blockbusters 246
The localism of inter-Asian cinema 255
- Localism in Korean independent cinema 256
- Localism in Hong Kong 256
In focus 7.2: Between Fifth and Sixth Generation: Zhang Yimou and mediated realism in Not One Less (1999) 263
In focus 7.3: Localism of the Sixth Generation: Beijing Bastards, Beijing Bicycle, and Suzhou River 269
In focus 7.4: Interrogative localism in Jia Zhangke’s Still Life (2006) 275
Trans-Asian 282
- Popular cinema, blockbusters, and Hollywood 283
- Trans-Asian art cinema: the adventures of film form 288
In focus 7.5: Trans-Asian art cinema: Hong Sang-soo and Hou Hsiao-hsien 289
In focus 7.6: What time is it in world cinema? Tsai Ming-Ling and What Time Is it There? (2001) 296
Asian theoretical perspective 301

Transnational cinema 353
In focus 9.1: The transnational cinema of Ang Lee 358
In focus 9.2: The transnational cinema of Alejandro González Iñárritu 364
Diasporic and postcolonial cinema 372
In focus 9.3: Chinese diasporic cinema 377
In focus 9.4: Indian diasporic cinema 380
In focus 9.5: European migratory cinema: undoing diasporas 386
Transnational women’s cinema 392
In focus 9.6: Women’s anthology films: Breakfast, Lunch, Dinner (2011) 397
In focus 9.7: Transnational Balkan women directors: Aida Begić’s Djeca/Children of Sarajevo (2012) 402

Index 432