Pub Date : 2020-04-02DOI: 10.1080/25785273.2019.1682229
Meta Mazaj
ABSTRACT Gräns/Border by Iranian-Danish director Ali Abbasi won Un Certain Regard at Cannes as it was proclaimed an ‘instant cult classic’. This paper argues that the ambivalent status of Border – seen as both an audacious genre bender and a social realist film addressing issues of migration – bespeaks its articulation of the borderscape as a catachrestic locus that challenges familiar representational modes in border aesthetics. In doing so, the film, this paper contends, de-structures our perception of alterity, forges a new sensory cognition of the world, and new aesthetic experiences of migratory transitions. Most contemporary films engage migrant and border ecologies through their thematic content, where the border emerges either as a vulnerable space in need of protection or as a hopeful place of politically exciting hybridity and moral possibility. Instead, Border rearticulates generic signifying practices to imagine the border not as spatial ‘fact’ but as an epistemological ground or ‘border effect’ that incites new modes of geopolitical attunement. At stake here is not just a different concept of borders, but the possibility of film form to restructure our sensory perception of the world to offer new figurative possibilities for migratory and border cinema.
{"title":"Border aesthetics and catachresis in Ali Abbasi’s Gräns/Border (2018)","authors":"Meta Mazaj","doi":"10.1080/25785273.2019.1682229","DOIUrl":"https://doi.org/10.1080/25785273.2019.1682229","url":null,"abstract":"ABSTRACT Gräns/Border by Iranian-Danish director Ali Abbasi won Un Certain Regard at Cannes as it was proclaimed an ‘instant cult classic’. This paper argues that the ambivalent status of Border – seen as both an audacious genre bender and a social realist film addressing issues of migration – bespeaks its articulation of the borderscape as a catachrestic locus that challenges familiar representational modes in border aesthetics. In doing so, the film, this paper contends, de-structures our perception of alterity, forges a new sensory cognition of the world, and new aesthetic experiences of migratory transitions. Most contemporary films engage migrant and border ecologies through their thematic content, where the border emerges either as a vulnerable space in need of protection or as a hopeful place of politically exciting hybridity and moral possibility. Instead, Border rearticulates generic signifying practices to imagine the border not as spatial ‘fact’ but as an epistemological ground or ‘border effect’ that incites new modes of geopolitical attunement. At stake here is not just a different concept of borders, but the possibility of film form to restructure our sensory perception of the world to offer new figurative possibilities for migratory and border cinema.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"142 1","pages":"34 - 47"},"PeriodicalIF":0.2,"publicationDate":"2020-04-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73438521","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 : 2020-03-18DOI: 10.1080/25785273.2020.1739378
Danielle E. Hipkins
{"title":"Childhood and nation in contemporary world cinema: borders and encounters","authors":"Danielle E. Hipkins","doi":"10.1080/25785273.2020.1739378","DOIUrl":"https://doi.org/10.1080/25785273.2020.1739378","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"25 1","pages":"82 - 85"},"PeriodicalIF":0.2,"publicationDate":"2020-03-18","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"80964506","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 : 2020-02-28DOI: 10.1080/25785273.2020.1734305
David Alamouti
ABSTRACT Over the last decade the integration of web-based technologies into the film supply chain has accelerated a huge shift in the way documentary films are distributed and exhibited. This shift has seen a move away from the previous analogue systems- built on the exclusivity of time and space- into new convergent and transnational methods based on digital systems. This has (had) huge ramifications for all areas of documentary making, none more so than on the issue of documentary ethics. Above all other forms of film (and filmmaking), ethics is one of the key factors that define and distinguish the documentary film. However, much of the ethical frameworks and discourse currently used are from the previous analogue period of distribution and exhibition. Using the making of a feature documentary as a case study, this article explores how the changes in exhibition and distribution have affected the ethical frameworks that have traditionally informed the making of a documentary. The study concludes by demonstrating how current ethical frameworks and safeguarding procedures, undertaken by both documentary makers but also regulatory bodies, need to be rethought in order to respond to the challenges inherent in this transnational landscape.
{"title":"The digital ethical space: towards a transnational documentary ethics, a filmmaker’s point of view","authors":"David Alamouti","doi":"10.1080/25785273.2020.1734305","DOIUrl":"https://doi.org/10.1080/25785273.2020.1734305","url":null,"abstract":"ABSTRACT Over the last decade the integration of web-based technologies into the film supply chain has accelerated a huge shift in the way documentary films are distributed and exhibited. This shift has seen a move away from the previous analogue systems- built on the exclusivity of time and space- into new convergent and transnational methods based on digital systems. This has (had) huge ramifications for all areas of documentary making, none more so than on the issue of documentary ethics. Above all other forms of film (and filmmaking), ethics is one of the key factors that define and distinguish the documentary film. However, much of the ethical frameworks and discourse currently used are from the previous analogue period of distribution and exhibition. Using the making of a feature documentary as a case study, this article explores how the changes in exhibition and distribution have affected the ethical frameworks that have traditionally informed the making of a documentary. The study concludes by demonstrating how current ethical frameworks and safeguarding procedures, undertaken by both documentary makers but also regulatory bodies, need to be rethought in order to respond to the challenges inherent in this transnational landscape.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"305 1","pages":"103 - 120"},"PeriodicalIF":0.2,"publicationDate":"2020-02-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77360783","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 : 2020-02-06DOI: 10.1080/25785273.2020.1720302
B. Trbic
ABSTRACT This essay examines Rashid Masharawi’s transnationally produced films against the backdrop of problematizing the Palestinian relationship with the realm of nature. Grounded in the idea of minor transnationalism, modelled by Françoise Lionnet and Shu-mei Shih, drawing upon the conceptualization of ‘minor literatures’ of Gilles Deleuze and Félix Guattari, and the transnational film theory of Mette Hjort, it focuses on Masharawi’s feature films, Curfew, Haïfa, Ticket to Jerusalem, Laila’s Birthday and Palestine Stereo. Set in and around refugee camps in the Gaza Strip and the West Bank, Masharawi’s ‘minor films’ accentuate the absence of nature from the lives of local individuals and communities, and their disconnections from the realms of natural transcendence. Masharawi affirms his position on cinema as a vehicle for the advancement of modernity, but does not negate or marginalize the ties of Palestinians to their land. Urging his audiences to contemplate the tropes in the national imaginary and the discontinuities from the romanticized narratives of land in the pre-Nakba period, he seeks what Deleuze and Guattari describe as the ‘collective paradigms of political enunciation,’ corresponding to the new modes of subjectivity.
{"title":"Bereft of nature: renegotiating national identity in the films of Rashid Masharawi","authors":"B. Trbic","doi":"10.1080/25785273.2020.1720302","DOIUrl":"https://doi.org/10.1080/25785273.2020.1720302","url":null,"abstract":"ABSTRACT This essay examines Rashid Masharawi’s transnationally produced films against the backdrop of problematizing the Palestinian relationship with the realm of nature. Grounded in the idea of minor transnationalism, modelled by Françoise Lionnet and Shu-mei Shih, drawing upon the conceptualization of ‘minor literatures’ of Gilles Deleuze and Félix Guattari, and the transnational film theory of Mette Hjort, it focuses on Masharawi’s feature films, Curfew, Haïfa, Ticket to Jerusalem, Laila’s Birthday and Palestine Stereo. Set in and around refugee camps in the Gaza Strip and the West Bank, Masharawi’s ‘minor films’ accentuate the absence of nature from the lives of local individuals and communities, and their disconnections from the realms of natural transcendence. Masharawi affirms his position on cinema as a vehicle for the advancement of modernity, but does not negate or marginalize the ties of Palestinians to their land. Urging his audiences to contemplate the tropes in the national imaginary and the discontinuities from the romanticized narratives of land in the pre-Nakba period, he seeks what Deleuze and Guattari describe as the ‘collective paradigms of political enunciation,’ corresponding to the new modes of subjectivity.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"32 1","pages":"62 - 77"},"PeriodicalIF":0.2,"publicationDate":"2020-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84924062","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 : 2019-09-02DOI: 10.1080/25785273.2019.1676547
Maria Elena Indelicato, I. Pražić, Qui Zitong
ABSTRACT This article looks at the ways childhood, animality and emotions are imbricated in the Chinese Indonesian film director Edwin’s film: Babi buta yang ingin terbang/Blind Pig Who Wants to Fly (2008). By examining their entanglement, it demonstrates how the director’s use of childhood as a trope of becoming externalises the complex configuration of emotions embodied by Chinese in Indonesia. Further, this article explores this configuration as the subjective dimension of Sinophobia, here approached as the historical process of positioning Chinese Indonesians as an object of national disgust. Complementing this analysis, this article also examines Edwin’s employment of a pig-imaginary to visually convey the affective effects of contemporary racism in Indonesia. This article concludes arguing that, by employing both childhood and animality, Blind Pig effectively troubles what Chineseness is by means of visualising how it feels from the embodied perspective of a minoritised diasporic subject.
{"title":"Childhood, animality and emotions in indonesian film director Edwin’s Babi buta yang ingin terbang/Blind Pig Wants to Fly (2008)","authors":"Maria Elena Indelicato, I. Pražić, Qui Zitong","doi":"10.1080/25785273.2019.1676547","DOIUrl":"https://doi.org/10.1080/25785273.2019.1676547","url":null,"abstract":"ABSTRACT This article looks at the ways childhood, animality and emotions are imbricated in the Chinese Indonesian film director Edwin’s film: Babi buta yang ingin terbang/Blind Pig Who Wants to Fly (2008). By examining their entanglement, it demonstrates how the director’s use of childhood as a trope of becoming externalises the complex configuration of emotions embodied by Chinese in Indonesia. Further, this article explores this configuration as the subjective dimension of Sinophobia, here approached as the historical process of positioning Chinese Indonesians as an object of national disgust. Complementing this analysis, this article also examines Edwin’s employment of a pig-imaginary to visually convey the affective effects of contemporary racism in Indonesia. This article concludes arguing that, by employing both childhood and animality, Blind Pig effectively troubles what Chineseness is by means of visualising how it feels from the embodied perspective of a minoritised diasporic subject.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"149 1","pages":"217 - 231"},"PeriodicalIF":0.2,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"79421768","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 : 2019-09-02DOI: 10.1080/25785273.2019.1684709
E. Yeh
ABSTRACT Early screen culture in Hong Kong remains underexplored, despite the rigorous work of film historians. According to new evidence on film exhibitions in Hong Kong from 1897 to late 1907, early screen practice was multi-faceted. It ranged from technological marvels and the co-programming of motion pictures with musicals and magic shows to the enjoyment of theatre spaces, in addition to the on-screen excitement projected to the audience. Given the heterogeneity of early film screening in the Crown Colony, I present three accounts of early screen culture in colonial Hong Kong: the primacy of technical marvels and the management of cinema machines; the symbiosis between motion pictures and established forms of entertainment; and the emergence of film exhibition as a commercial institution. To understand the implications of cinema in connection to colonial governance, I use the concept of dispositif, a machine of display and a device of power relations, to analyse the role of cinema in the deployment of colonial power.
{"title":"Early screen culture in colonial Hong Kong (1897–1907)","authors":"E. Yeh","doi":"10.1080/25785273.2019.1684709","DOIUrl":"https://doi.org/10.1080/25785273.2019.1684709","url":null,"abstract":"ABSTRACT Early screen culture in Hong Kong remains underexplored, despite the rigorous work of film historians. According to new evidence on film exhibitions in Hong Kong from 1897 to late 1907, early screen practice was multi-faceted. It ranged from technological marvels and the co-programming of motion pictures with musicals and magic shows to the enjoyment of theatre spaces, in addition to the on-screen excitement projected to the audience. Given the heterogeneity of early film screening in the Crown Colony, I present three accounts of early screen culture in colonial Hong Kong: the primacy of technical marvels and the management of cinema machines; the symbiosis between motion pictures and established forms of entertainment; and the emergence of film exhibition as a commercial institution. To understand the implications of cinema in connection to colonial governance, I use the concept of dispositif, a machine of display and a device of power relations, to analyse the role of cinema in the deployment of colonial power.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"2 1","pages":"148 - 169"},"PeriodicalIF":0.2,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"82635705","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 : 2019-09-02DOI: 10.1080/25785273.2019.1660066
Olivia Khoo
ABSTRACT This paper seeks to better understand China’s role in film co-productions with Asian partners through a model of comparative film studies. Taking the Hong Kong-China coproduction The Office as a case study, the paper explores how the film allegorizes a dynamic of economic polarization, rendered through a technology of aspiration and an aesthetics of verticality. I suggest that any theorization of verticality and aspiration in The Office and in other regional co-productions might be better served by a more ‘horizontal’ form of thinking, such as that proposed by an emergent project of comparative film studies outlined by Paul Willeman to account for new interconnections in film production taking place in the Asia Pacific. The paper outlines what is at stake in a vertical characterization of Huallywood co-productions, and the capacity of comparative film studies to register capitalism’s differential trajectories within the region.
{"title":"Another day at The Office: Huallywood co-productions, verticality, and the project of a comparative film studies","authors":"Olivia Khoo","doi":"10.1080/25785273.2019.1660066","DOIUrl":"https://doi.org/10.1080/25785273.2019.1660066","url":null,"abstract":"ABSTRACT This paper seeks to better understand China’s role in film co-productions with Asian partners through a model of comparative film studies. Taking the Hong Kong-China coproduction The Office as a case study, the paper explores how the film allegorizes a dynamic of economic polarization, rendered through a technology of aspiration and an aesthetics of verticality. I suggest that any theorization of verticality and aspiration in The Office and in other regional co-productions might be better served by a more ‘horizontal’ form of thinking, such as that proposed by an emergent project of comparative film studies outlined by Paul Willeman to account for new interconnections in film production taking place in the Asia Pacific. The paper outlines what is at stake in a vertical characterization of Huallywood co-productions, and the capacity of comparative film studies to register capitalism’s differential trajectories within the region.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"79 1","pages":"170 - 183"},"PeriodicalIF":0.2,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81375491","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 : 2019-09-02DOI: 10.1080/25785273.2019.1662197
Hongwei Bao
ABSTRACT In this article, I chart a brief history of the queer community documentary in the PRC since the 2000s by introducing its historical conditions of emergence and development. In doing so, I highlight the activist dimension of queer filmmaking and its transnational nature. I focus specifically on the aesthetics and politics, together with modes of production and circulation, of these queer community documentaries. I call the group of filmmakers working around the Beijing Queer Film Festival and the China Queer Film Festival Tour the ‘queer generation’. The ‘queer generation’ filmmakers use documentary films as a tool to engage in political and social activism. Their films and activist practices should be put in a transnational context and seen as part of the transnational screen activism and international queer movements. As these filmmakers documented queer community histories, they also ‘queered’ Chinese documentaries and Chinese film industries at large. Their works represent grassroots, community-based and activist-oriented political engagements in contemporary China; these works also point to the political potential of queerness and documentary films in the world today.
{"title":"The ‘queer generation’:queer community documentary in contemporary China","authors":"Hongwei Bao","doi":"10.1080/25785273.2019.1662197","DOIUrl":"https://doi.org/10.1080/25785273.2019.1662197","url":null,"abstract":"ABSTRACT In this article, I chart a brief history of the queer community documentary in the PRC since the 2000s by introducing its historical conditions of emergence and development. In doing so, I highlight the activist dimension of queer filmmaking and its transnational nature. I focus specifically on the aesthetics and politics, together with modes of production and circulation, of these queer community documentaries. I call the group of filmmakers working around the Beijing Queer Film Festival and the China Queer Film Festival Tour the ‘queer generation’. The ‘queer generation’ filmmakers use documentary films as a tool to engage in political and social activism. Their films and activist practices should be put in a transnational context and seen as part of the transnational screen activism and international queer movements. As these filmmakers documented queer community histories, they also ‘queered’ Chinese documentaries and Chinese film industries at large. Their works represent grassroots, community-based and activist-oriented political engagements in contemporary China; these works also point to the political potential of queerness and documentary films in the world today.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"96 1","pages":"201 - 216"},"PeriodicalIF":0.2,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"73618694","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 : 2019-09-02DOI: 10.1080/25785273.2019.1681650
D. Fleming, Maria Elena Indelicato
ABSTRACT China’s past status as a semi-colony and historical fragmentation into three main territorial entities has meant that defining what constitutes Chinese cinema(s), or indeed cinematic Chineseness, has always been at the forefront of heated debates surrounding transborder practice, production and conceptualisation. Such deliberations have intensified recently due to intensified efforts to render Chineseness a cultural signifier increasingly implicated with transborder cinematic products designed to compete with Hollywood on the global stage. The introduction to this special issue, entitled ‘Situating “Huallywood:” Histories, Trajectories, and Positionings’ opens up these debates to the field of transnational Chinese cinemas, setting out a range of new questions and perspectives that problematize established understandings of Chinese-Western cinematic relations.
{"title":"Introduction: on transnational Chinese cinema(s), hegemony and Huallywood(s)","authors":"D. Fleming, Maria Elena Indelicato","doi":"10.1080/25785273.2019.1681650","DOIUrl":"https://doi.org/10.1080/25785273.2019.1681650","url":null,"abstract":"ABSTRACT China’s past status as a semi-colony and historical fragmentation into three main territorial entities has meant that defining what constitutes Chinese cinema(s), or indeed cinematic Chineseness, has always been at the forefront of heated debates surrounding transborder practice, production and conceptualisation. Such deliberations have intensified recently due to intensified efforts to render Chineseness a cultural signifier increasingly implicated with transborder cinematic products designed to compete with Hollywood on the global stage. The introduction to this special issue, entitled ‘Situating “Huallywood:” Histories, Trajectories, and Positionings’ opens up these debates to the field of transnational Chinese cinemas, setting out a range of new questions and perspectives that problematize established understandings of Chinese-Western cinematic relations.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"1 1","pages":"137 - 147"},"PeriodicalIF":0.2,"publicationDate":"2019-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"76697577","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 : 2019-08-27DOI: 10.1080/25785273.2019.1658932
D. Fleming
ABSTRACT Recognising that ‘Chinese cinema(s)’ have spearheaded calls for a ‘critical transnationalism’ I here take the recent neologism Huallywood on its word—but not its tone—to posit an alternative ‘third culture’ “Hàullywood” (from huà (化) drawing in associations with change and transformation) model that helps us understand the making and marketing of mega-budget and mega-revenue transborder films produced in-between what we might call global Hollywood and transnational Huallywood. Seeing Huallywood as a multi-faceted assemblage, I also harnesses the mythical figure of the chimera as a conceptual guide, which in turn becomes articulated to discussion of a cinematic ‘return’ of the economic behemoth that the historian Niall Ferguson’s and economist Moritz Schularick christened Chimerica. Films such as The Great Wall, and Rogue One: A Star Wars Story serve as illustrative examples of what a Chimerican or Hàullywood cinema looks like today: this being neither Hollywood or Huallywood, but rather composed of bits and pieces of each. By building its critical arguments through a consideration of news texts and cinematic paratexts, this essay also highlights the importance of studying extra-cinematic media commonly threatened by problems of ‘paratextual ephemerality’; which all the same play an important role in producing cinematic discourses.
{"title":"Third-culture Huàllywood: or, ‘Chimerica’ the cinematic return","authors":"D. Fleming","doi":"10.1080/25785273.2019.1658932","DOIUrl":"https://doi.org/10.1080/25785273.2019.1658932","url":null,"abstract":"ABSTRACT Recognising that ‘Chinese cinema(s)’ have spearheaded calls for a ‘critical transnationalism’ I here take the recent neologism Huallywood on its word—but not its tone—to posit an alternative ‘third culture’ “Hàullywood” (from huà (化) drawing in associations with change and transformation) model that helps us understand the making and marketing of mega-budget and mega-revenue transborder films produced in-between what we might call global Hollywood and transnational Huallywood. Seeing Huallywood as a multi-faceted assemblage, I also harnesses the mythical figure of the chimera as a conceptual guide, which in turn becomes articulated to discussion of a cinematic ‘return’ of the economic behemoth that the historian Niall Ferguson’s and economist Moritz Schularick christened Chimerica. Films such as The Great Wall, and Rogue One: A Star Wars Story serve as illustrative examples of what a Chimerican or Hàullywood cinema looks like today: this being neither Hollywood or Huallywood, but rather composed of bits and pieces of each. By building its critical arguments through a consideration of news texts and cinematic paratexts, this essay also highlights the importance of studying extra-cinematic media commonly threatened by problems of ‘paratextual ephemerality’; which all the same play an important role in producing cinematic discourses.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"89 1","pages":"184 - 200"},"PeriodicalIF":0.2,"publicationDate":"2019-08-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81232190","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}
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