| Description |
xxiii, 365 pages : illustrations (chiefly colour), map, portraits ; 25 cm |
| Contents |
Contents note continued: Case study 6.1 Uzak -- Iranian cinema -- Case study 6.2 Nader and Simin: A Separation -- Egyptian cinema -- Case study 6.3 Microphone -- Lebanese cinema -- Case study 6.4 Caramel -- European funding and support -- Dreams of a nation: Palestine -- Case study 6.5 Two films from Hany Abu-Assad -- Israeli cinema and the ̀periphery' -- Case study 6.6 Young Israelis at war -- Summary -- References and further reading -- Further viewing -- 7.International art cinema and the festival circuit -- The origins of ̀art cinema' -- Auteur filmmaking -- The role of film festivals -- Case study 7.1 Films from the South, Oslo -- The ̀festival film' -- Claire Denis, auteur filmmaker -- Case study 7.2 35 rhums -- Case study 7.3 A ̀festival film'? -- Contemporary art cinema prospects -- Artists' films -- Summary -- References and further reading -- Web material -- Further viewing -- 8.Cinema that needs to be different? -- Defining ̀Third Cinema' -- |
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Contents note continued: Chinese cinemas viewed from outside China -- Early history of cinema in China -- Cinema in the People's Republic of China (PRC) -- Building on tradition -- The emergence of the Fifth Generation filmmakers -- Case study 11.1 Xie Jin -- Case study 11.2 Zhang Yimou -- The Sixth Generation -- Hong Kong cinema: Chinese cinema as commercial cinema -- Case study 11.3 Ann Hui -- Cinema in Taiwan -- Case study 11.4 Hou Hsiao-hsien -- Chinese diaspora cinema in Southeast Asia -- Mainland Chinese cinema since the 1990s -- Case study 11.5 Feng Xiaogang -- Case study 11.6 Jia Zhangke -- Action men and suffering women? -- Summary -- References and further reading -- Further viewing -- 12.Looking to the future -- New markets: Southeast Asia -- Case study 12.1 Eric Khoo and Zhao Wei Films -- Will Hollywood's hegemony last? -- The potential of the BRICs and MIKT -- The gaming industry -- Digital cinema and cultural policy -- Winners and losers in digital cinema? -- |
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Contents note continued: E-cinema and digital diversity -- Online film -- Summary: the bigger picture -- References and further reading |
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Contents note continued: Hollywood strategies: adaptations, remakes, re-workings -- Hollywood and transnational genre production -- Case study 2.1 Remaking romantic comedy: My Sassy Girl -- Summary -- References and further reading -- 3.Approaching films from different cultures -- Enjoyment in watching films -- Case study 3.1 Die Welle -- Case study 3.2 Y tu mama tambien -- Case study 3.3 At 5 in the Afternoon -- Case study 3.4 Ten Canoes -- Summary -- References and further reading -- Further viewing -- 4.National cinemas in Europe: contrasting experiences -- Defining national cinema -- Defining the domestic film industry: national cinema as economic entity -- France and the UK: the same but different? -- Diaspora cinema in Europe -- Diaspora filmmaking in the UK -- Case study 4.1 Gurinder Chadha as a British diaspora filmmaker -- Diaspora filmmaking in France -- European regional filmmaking: Nordic cinema -- Case study 4.2 Two Nordic films: Everlasting Moments, Headhunters -- |
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Contents note continued: Nordic cinema: the American and British connection -- Spanish national cinema: shaped by history -- Summary -- References and further reading -- Further viewing -- 5.Decentring the Hollywood domination debate: Japan and South Korea -- Problematising the study of Japanese cinema -- Orientalism -- Japanese films in the contemporary UK market -- The contemporary filmed entertainment market in Japan -- Japan and its ̀classical' cinema -- Manga and anime -- Case study 5.1 The Girl Who Leapt Through Time -- Cinema of South Korea -- The South Korean blockbuster -- The Korean Wave: Hallyu -- A mature industry of variety? -- Summary: cinemas in opposition to Hollywood or going their own way? -- References and further reading -- Further viewing -- 6.Middle East without borders -- Where is the ̀Middle East'? -- ̀Without borders' -- The film industries and film cultures of the Middle East -- Local film industries -- Turkish film culture and industry -- |
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Contents note continued: ̀Imperfect cinema' in Cuba -- From Third Cinema to postcolonialism -- Basic concepts associated with postcolonialism -- ̀African cinemas' -- The legacy of British colonialist policies for film culture -- Film in Francophone Africa -- Sembene Ousmane and sub-Saharan African filmmaking -- Case study 8.1 Third Cinema and Sembene's Xala -- FESPACO, the diaspora and the academy -- Nollywood -- Case study 8.2 Araromire -- Summary -- References and further reading -- Further viewing -- 9.Global television -- Television and non-standard technologies -- The ̀filmed' TV series -- The British telefilm -- The development of US television production -- Case study 9.1 Fremantle Media -- Television films -- How is a TV film different? -- How do you watch? -- Classical Hollywood, TV movies and reality TV -- Video cinema -- International TV trade -- Contra-flows in the international television market -- Telenovelas: soap, romance and melodrama -- |
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Contents note continued: The origins of the telenovela -- Ramadan dramas -- Nordic crime fiction -- Crime fiction and its readers -- Danish serials -- Case study 9.2 Yellow Bird -- Summary -- References and further reading -- Further viewing -- 10.Diverse Indian cinemas -- Outline history of film in India -- Language diversity -- Hindi cinema -- Bollywood examined -- Bollywood and ̀Indian popular cinema' -- Changing audiences for Bollywood -- Statistics and the Indian film industries -- The corporatisation of Indian media -- Nationalism, sectarianism and ̀India Shining' -- Case study 10.1 3 Idiots -- Case study 10.2 Endhiran -- Bengali cinema, art and politics -- New Indian cinema and parallel cinema -- Indian diaspora filmmakers -- New Bengali cinema and the parallel legacy -- Case study 10.3 15 Park Avenue -- ̀New Bollywood'? -- Case study 10.4 Anurag Kashyap and ̀independent' Indian films -- Summary -- References and further reading -- Further viewing -- 11.Chinese cinemas -- |
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Machine generated contents note: First thoughts -- World or global? -- Industry and culture -- What does this mean to you? -- Dealing with Hollywood -- How do we see the world? -- Life of Pi: a global film? -- Studying film -- How the book is organised -- Information and resources -- References and further reading -- 1.The development of global film -- The story begins -- The first studios -- Before ̀language cinema' -- European war and the rise of Hollywood -- Changes with sound -- Dubbing and subtitling in global film -- Case study 1.1 Subtitling and La haine -- The context for Hollywood's hegemony -- The international film market today -- International art cinema -- It's not all feature films... -- Summary -- References and further reading -- 2.The Hollywood studio model -- Global Hollywood -- Genre production and the studio model -- Genre in a global context -- The western -- Melodramas -- Star systems -- Modern, modernity and modernism -- |
| Summary |
This introductory study of global film examines film production modes around the world and the ways in which they combine and overlap with each other, and with Hollywood, in a dynamic global film market. Roy Stafford considers examples of production, distribution and exhibition from Europe, Africa, South Asia, East Asia and Latin America in order to demonstrate both how the international industry works within certain conventional modes and also how distinctive local conditions can enable forms of difference. The textbook combines three approaches: industry-based study, formal analysis of narrative, genre and representation, and discussion of reception and local film cultures. This is an entertaining exploration of the development of film as global industry and art form, written especially for students and introducing readers to the rich and varied cinematic landscape beyond Hollywood. Highlighting areas of difference and similarity in film economies and audiences, as well as form, genre and narrative, this textbook considers a broad range of examples and up to date industry data from Europe, Africa, Asia, Australasia and Latin America. Author Roy Stafford combines detailed studies of indigenous film and television cultures with cross border, global and online entertainment operations, including examples from Nollywood to Korean Cinema, via telenovelas and Nordic crime drama. The Global Film Book demonstrates a number of contrasting models of contemporary production, distribution and consumption of film worldwide, charting and analysing the past, present and potential futures for film throughout the world. The book also provides students with: - a series of exploratory pathways into film culture worldwide - illuminating analyses and suggestions for further readings and viewing, alongside explanatory margin notes and case studies - a user friendly text design, featuring over 120 colour images - a dynamic and comprehensive blog, online at www.globalfilmstudies.com, providing updates and extensions of case studies in the book and analysis of the latest developments in global film issue |
| Bibliography |
Includes bibliographical references and indexes |
| Subject |
Motion pictures -- Criticism and interpretation.
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Motion pictures -- Study and teaching.
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| LC no. |
2013024489 |
| ISBN |
9780415688963 (hardback) |
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9780415688970 (paperback) |
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