Contents
Click bolded chapter titles for summaries
- The contemporary moment 4
- Polycentric world cinema 6
- Polymorphic world cinema 9
- Polyvalent world cinema 10
- Teaching world cinema 11
Chapter 1: What is world cinema? 15
- 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
Chapter 2: Watching world cinema 37
- 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
Chapter 3: Film Production and Finance 75
- 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
Chapter 4: Film festivals and world cinema 105
- 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
Chapter 5: Indian cinema and Bollywood 135
- 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
Chapter 6: African cinema and Nollywood 175
- 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
- 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
Chapter 8: National formations 313
- National cinema 313
- In focus 8.1: New Turkish cinema 318
- In focus 8.2: New Argentine cinema 322
- Small and peripheral cinemas 329
- In focus 8.3: The politics of visibility in Palestinian cinema 333
- In focus 8.4: Slovenian cinema as small cinema 340
Chapter 9: Transnational formations 353
- 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
Chapter 10: Polyvalent world cinema 417
- Cognitive mapping 421
- Worldliness 424
- Worlding/world-making 426
Index 432