Pub Date : 2023-12-19DOI: 10.1080/25785273.2023.2295171
Rodrigo Muñoz-González
{"title":"Critical resignation in Latin America: transnational media and young people","authors":"Rodrigo Muñoz-González","doi":"10.1080/25785273.2023.2295171","DOIUrl":"https://doi.org/10.1080/25785273.2023.2295171","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":" 89","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-12-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138962204","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-28DOI: 10.1080/25785273.2023.2271291
Marvin D’Lugo
{"title":"“Bardo, or the Mexican digital diaspora”","authors":"Marvin D’Lugo","doi":"10.1080/25785273.2023.2271291","DOIUrl":"https://doi.org/10.1080/25785273.2023.2271291","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"4 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139220591","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-11-26DOI: 10.1080/25785273.2023.2286068
Maria O’Brien
{"title":"Taiwan New Cinema at Film Festivals Taiwan New Cinema at Film Festivals , Beth Tsai, 2023, First Edition, Edinburgh, Edinburgh University Press, 192 pp., £85 (hardback), ISBN Hardback: 9781474496919, Ebook (ePub): 9781474496940, Ebook (PDF): 9781474496933, £85 (ePub, Ebook + paperback)","authors":"Maria O’Brien","doi":"10.1080/25785273.2023.2286068","DOIUrl":"https://doi.org/10.1080/25785273.2023.2286068","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"77 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-11-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139235624","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-30DOI: 10.1080/25785273.2023.2260240
María Del Mar Azcona, Celestino Deleyto
ABSTRACTStillwater McCarthy (2021) brings together Matt Damon, a Hollywood star with cosmopolitan credentials, and Marseille, a crucible of civilizations often described as a cosmopolitan city. Damon plays Bill Baker, an Oklahoman redneck who must travel regularly to Marseille to visit his daughter in jail. For Bill, a character from a small, quiet mid-U.S. town, Marseille is all excess and opacity, almost impossible to navigate. Large parts of the film are spoken in French, a language that the protagonist neither speaks nor understands.This article uses a cosmopolitan perspective to explore the consequences of the encounter between the Hollywood star and the European city. As will be argued, the ambivalent cosmopolitanism of both Damon’s star persona and Marseille converge in an irresistible but ultimately impossible way. This article explores the dynamics between these two drives by means of a spatial perspective that sheds some light on the multiplying facets of cosmopolitanism in contemporary cinema, including mainstream cinema, and highlights the fraught interface between cosmopolitanism as a utopian ethical aspiration and political agenda, on the one hand, and an everyday reality, on the other.KEYWORDS: Matt DamonMarseillecosmopolitanismstar studiescinematic spaceEuropean cities AcknowledgmentsJulie Assouly, Sébastien Lefait, Vincent GeisserDisclosure statementNo potential conflict of interest was reported by the author(s).Notes1. We would like to thank Julie Assouly, Sébastien Lefait, Vincent Geisser for their help with our bibliography on the history and society of the city of Marseille.Additional informationFundingThis work was supported by the Ministerio de Ciencia e Innovación [PID2021-123836NB-I00]; Diputación General de Aragón [H23_20R].Notes on contributorsMaría Del Mar AzconaMaría Del Mar Azcona teaches Film Studies and English at the University of Zaragoza. She is the author of The Multi-Protagonist Film (Wiley-Blackwell, 2010) and co-author, with Celestino Deleyto, of Alejandro González Iñárritu (University of Illinois Press, 2010) and of Before Sunrise: Young Love on the Move (Routledge, 2023). Her latest publications include “Don’t Stop Me Now: Mobility and Cosmopolitanism in the Bourne Saga” (Mobilities, 2016), “Matt Damon: A Cosmopolitan Hero for the Mainstream” (Celebrity Studies, 2018), “The Texture of the Age: Digital Construction of Unbounded Space in Birdman” (with Celestino Deleyto, Studies in Spanish and Latin American Cinemas, 2021) and “The Trickster and the Fool: Matt Damon and Comedy” (Quarterly Review of Film and Video, 2022).Celestino DeleytoCelestino Deleyto is Professor of Film Studies and English at the University of Zaragoza. His current research interests are the study of cinematic spaces, social space and real places and the interface between them, particularly in the context of border films and cities, as well as cosmopolitan theory and transnational cinema. His latest publications include Alejandro Gonzál
【摘要】《死水麦卡锡》(2021)将好莱坞影星马特·达蒙(Matt Damon)与马赛(Marseille)结合在一起，马赛是一个文明的熔炉，通常被描述为一个国际大都市。达蒙饰演比尔·贝克，一个俄克拉何马州的乡巴佬，他必须定期去马赛探望他在监狱里的女儿。对于比尔来说，一个来自美国中部一个安静的小镇的人物。小镇马赛到处都是多余的和不透明的，几乎不可能导航。影片的大部分内容都是用法语讲的，而主角既不会说也听不懂法语。本文以世界性的视角来探讨这位好莱坞明星与这座欧洲城市相遇的后果。正如将要讨论的那样，达蒙的明星形象和马赛的矛盾世界主义以一种不可抗拒但最终不可能的方式融合在一起。本文通过空间视角探讨了这两种动力之间的动态关系，揭示了当代电影(包括主流电影)中世界主义的多重方面，并强调了世界主义作为乌托邦式的伦理愿望和政治议程与日常现实之间令人担忧的界面。关键词:Matt damonmarseille生态世界主义明星研究电影空间欧洲城市致谢julie Assouly, s bastien Lefait, Vincent geiser披露声明作者未报告潜在利益冲突。我们要感谢Julie Assouly, ssambastien Lefait和Vincent Geisser，感谢他们帮助我们编写了关于马赛市历史和社会的参考书目。本研究得到了法国科学部Innovación [PID2021-123836NB-I00]的支持;Diputación General de Aragón [H23_20R]。关于contributorsMaría Del Mar AzconaMaría Del Mar Azcona在萨拉戈萨大学教授电影研究和英语。她是《多重主角电影》(Wiley-Blackwell出版社，2010)的作者，并与Celestino Deleyto合著了《Alejandro González Iñárritu》(伊利诺伊大学出版社，2010)和《日出之前:年轻的爱情在移动》(Routledge出版社，2023)。她的最新出版物包括“现在不要阻止我:伯恩传奇中的流动性和世界主义”(流动性，2016)，“马特·达蒙:主流的世界主义英雄”(名人研究，2018)，“时代的纹理:鸟人中无限空间的数字构建”(与Celestino Deleyto合作，西班牙和拉丁美洲电影院研究，2021)和“骗子和傻瓜:马特·达蒙和喜剧”(电影和视频季刊，2022)。Celestino Deleyto是萨拉戈萨大学电影研究和英语教授。他目前的研究兴趣是电影空间、社会空间和现实空间以及它们之间的界面，特别是在边界电影和城市的背景下，以及世界主义理论和跨国电影。他的最新出版物包括Alejandro González Iñárritu(与María del Mar Azcona，伊利诺伊大学出版社，2010年)，从好莱坞到边境镇:电影中的洛杉矶(韦恩州立大学联合出版公司，2016年)，“浪漫，跨国和混乱:亲密空间/大都会空间在香港已经明天”，在想象“我们”在“我”时代:浪漫和社会关系在当代文化(玛丽哈罗德，苏珊伦纳德和黛安内格拉，编辑)。“从边界看:当代电影的世界主义方法”(跨国电影院，2017)，“故事到目前为止:浪漫喜剧和/作为空间在午夜之前，在重新聚焦:理查德·林克莱特的电影(金·威尔金斯和提摩太斯·维默伦，爱丁堡联合公司，2023)和日出之前:年轻的爱情在移动(与María del Mar Azcona，劳特利奇，2023)。”
{"title":"Brief encounter: Matt Damon in Marseille","authors":"María Del Mar Azcona, Celestino Deleyto","doi":"10.1080/25785273.2023.2260240","DOIUrl":"https://doi.org/10.1080/25785273.2023.2260240","url":null,"abstract":"ABSTRACTStillwater McCarthy (2021) brings together Matt Damon, a Hollywood star with cosmopolitan credentials, and Marseille, a crucible of civilizations often described as a cosmopolitan city. Damon plays Bill Baker, an Oklahoman redneck who must travel regularly to Marseille to visit his daughter in jail. For Bill, a character from a small, quiet mid-U.S. town, Marseille is all excess and opacity, almost impossible to navigate. Large parts of the film are spoken in French, a language that the protagonist neither speaks nor understands.This article uses a cosmopolitan perspective to explore the consequences of the encounter between the Hollywood star and the European city. As will be argued, the ambivalent cosmopolitanism of both Damon’s star persona and Marseille converge in an irresistible but ultimately impossible way. This article explores the dynamics between these two drives by means of a spatial perspective that sheds some light on the multiplying facets of cosmopolitanism in contemporary cinema, including mainstream cinema, and highlights the fraught interface between cosmopolitanism as a utopian ethical aspiration and political agenda, on the one hand, and an everyday reality, on the other.KEYWORDS: Matt DamonMarseillecosmopolitanismstar studiescinematic spaceEuropean cities AcknowledgmentsJulie Assouly, Sébastien Lefait, Vincent GeisserDisclosure statementNo potential conflict of interest was reported by the author(s).Notes1. We would like to thank Julie Assouly, Sébastien Lefait, Vincent Geisser for their help with our bibliography on the history and society of the city of Marseille.Additional informationFundingThis work was supported by the Ministerio de Ciencia e Innovación [PID2021-123836NB-I00]; Diputación General de Aragón [H23_20R].Notes on contributorsMaría Del Mar AzconaMaría Del Mar Azcona teaches Film Studies and English at the University of Zaragoza. She is the author of The Multi-Protagonist Film (Wiley-Blackwell, 2010) and co-author, with Celestino Deleyto, of Alejandro González Iñárritu (University of Illinois Press, 2010) and of Before Sunrise: Young Love on the Move (Routledge, 2023). Her latest publications include “Don’t Stop Me Now: Mobility and Cosmopolitanism in the Bourne Saga” (Mobilities, 2016), “Matt Damon: A Cosmopolitan Hero for the Mainstream” (Celebrity Studies, 2018), “The Texture of the Age: Digital Construction of Unbounded Space in Birdman” (with Celestino Deleyto, Studies in Spanish and Latin American Cinemas, 2021) and “The Trickster and the Fool: Matt Damon and Comedy” (Quarterly Review of Film and Video, 2022).Celestino DeleytoCelestino Deleyto is Professor of Film Studies and English at the University of Zaragoza. His current research interests are the study of cinematic spaces, social space and real places and the interface between them, particularly in the context of border films and cities, as well as cosmopolitan theory and transnational cinema. His latest publications include Alejandro Gonzál","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-09-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136341744","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-09-06DOI: 10.1080/25785273.2023.2231754
Ting Guo, Jonathan Evans
ABSTRACT Given the restricted number of foreign films which can be officially screened in Mainland China and restrictions on the portrayal of LGBTQ+ characters in visual media, international queer cinema tends to be screened at non-theatrical events such as film festivals, film clubs and café screenings. Building on existing work on Chinese film festival studies, this article draws attention to the wider ecosystem of screening practices in China, which engage with international queer film culture through their choice of films and also their mediations of LGBTQ+ cultures. Drawing from ethnographic fieldwork, this article examines how such events navigate language difference through translation, how they engage audiences through discussion or other means, and how they participate in the pink economy. The sorts of negotiation of meaning taking place demonstrate the complexity of transcultural queer cinema practices. The reception of films in translation leads to a notion of queer cinema in China as a cosmopolitan but local activity that contributes to local worldmaking practices.
{"title":"Screening international queer cinema in China","authors":"Ting Guo, Jonathan Evans","doi":"10.1080/25785273.2023.2231754","DOIUrl":"https://doi.org/10.1080/25785273.2023.2231754","url":null,"abstract":"ABSTRACT Given the restricted number of foreign films which can be officially screened in Mainland China and restrictions on the portrayal of LGBTQ+ characters in visual media, international queer cinema tends to be screened at non-theatrical events such as film festivals, film clubs and café screenings. Building on existing work on Chinese film festival studies, this article draws attention to the wider ecosystem of screening practices in China, which engage with international queer film culture through their choice of films and also their mediations of LGBTQ+ cultures. Drawing from ethnographic fieldwork, this article examines how such events navigate language difference through translation, how they engage audiences through discussion or other means, and how they participate in the pink economy. The sorts of negotiation of meaning taking place demonstrate the complexity of transcultural queer cinema practices. The reception of films in translation leads to a notion of queer cinema in China as a cosmopolitan but local activity that contributes to local worldmaking practices.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"33 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-09-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81953462","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-24DOI: 10.1080/25785273.2023.2232242
G. Simon
{"title":"Formalised transnationalism in the informal Nigerian video film industry: streaming, audience re-imaginations and production reconfigurations","authors":"G. Simon","doi":"10.1080/25785273.2023.2232242","DOIUrl":"https://doi.org/10.1080/25785273.2023.2232242","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"54 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-08-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"88976375","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-08-08DOI: 10.1080/25785273.2023.2244264
Mohd Erman Maharam
{"title":"Cultural tolerance and Nusantara Ethnoscape in Southeast Asian cinema","authors":"Mohd Erman Maharam","doi":"10.1080/25785273.2023.2244264","DOIUrl":"https://doi.org/10.1080/25785273.2023.2244264","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"89 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-08-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"85851291","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2023-06-26DOI: 10.1080/25785273.2023.2228100
Leonora Masini
ABSTRACT The first silent epic Italian film, Cabiria (1914) by Giovanni Pastrone with the screenplay co-written by the director and the poet Gabriele D’Annunzio was used as an educational tool at the Carlisle Indian Industrial School in 1915. The film’s plot unfolds during the Second Punic War (218 to 201 BC). The film’s narrative is pro-empire propaganda for Italy’s recent occupation of Libya (1911–1912). The visual narrative is rich in colonial rhetoric. It shows the viewers the friendship between the enslaved man Maciste, interpreted by a white man wearing blackface, and the Roman soldier and colonizer Fulvio Axilla. This essay analyses the film’s construction of racialized bodies and locates it within the larger context of cultural assimilation through visual technologies applied at the Carlisle school. This analysis focuses on the intermedial imagination of a progressive whitening process in moving pictures, photographs, and lantern slides used at the school.
{"title":"Colonial rhetoric in cinema for didactic use from a transnational view. The Italian epic film Cabiria (1914) at the Indian Industrial School of Carlisle","authors":"Leonora Masini","doi":"10.1080/25785273.2023.2228100","DOIUrl":"https://doi.org/10.1080/25785273.2023.2228100","url":null,"abstract":"ABSTRACT The first silent epic Italian film, Cabiria (1914) by Giovanni Pastrone with the screenplay co-written by the director and the poet Gabriele D’Annunzio was used as an educational tool at the Carlisle Indian Industrial School in 1915. The film’s plot unfolds during the Second Punic War (218 to 201 BC). The film’s narrative is pro-empire propaganda for Italy’s recent occupation of Libya (1911–1912). The visual narrative is rich in colonial rhetoric. It shows the viewers the friendship between the enslaved man Maciste, interpreted by a white man wearing blackface, and the Roman soldier and colonizer Fulvio Axilla. This essay analyses the film’s construction of racialized bodies and locates it within the larger context of cultural assimilation through visual technologies applied at the Carlisle school. This analysis focuses on the intermedial imagination of a progressive whitening process in moving pictures, photographs, and lantern slides used at the school.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"62 1","pages":""},"PeriodicalIF":0.2,"publicationDate":"2023-06-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76689349","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
京公网安备 11010802042870号
京ICP备2023020795号-1
扫码关注我们
求助内容：
应助结果提醒方式：