Pub Date : 2021-09-02DOI: 10.1080/25785273.2021.2012936
Alexander H. Hastie
ABSTRACT The Hollywood-inspired Maghrebi-French films Outside the Law (Bouchareb, 2010) and Free Men (Ferroukhi, 2011) narrate geographies of exclusion and belonging in Paris, France during the Algerian War of Independence (1954–1962) and World War Two (1939–1945) respectively. The films employ space and spatial metaphors to articulate and insist on the place of Maghrebi-French people in France. In doing so, they work to disrupt dominant imaginaries of Paris, whilst also revealing the possibilities for resistance in the city as seen from the point-of-view of North-African immigrants. The films are a significant part of a cultural and commercial ‘shift’ toward more mainstream filmmaking in Maghrebi-French cinema. Through reading some of the spaces in the films, this paper interrogates the ways in which they map new geographies of a (post)colonial Paris reimagined at the intersections of colonialism, beur cinema, and Hollywood. The geographical imaginaries constituted in the films are read as the product of a stylistic aesthetic that helps to locate Maghrebi-French identity beyond the confines of the French banlieue. In doing so, the paper contributes to recent debates around cultural flows and exchanges in transnational cinema by centring the importance of space in the context of an aesthetic shift in Maghrebi-French cinema.
{"title":"(Un)Familiar Spaces: paris in Outside the Law (2010) and Free Men (2011)","authors":"Alexander H. Hastie","doi":"10.1080/25785273.2021.2012936","DOIUrl":"https://doi.org/10.1080/25785273.2021.2012936","url":null,"abstract":"ABSTRACT The Hollywood-inspired Maghrebi-French films Outside the Law (Bouchareb, 2010) and Free Men (Ferroukhi, 2011) narrate geographies of exclusion and belonging in Paris, France during the Algerian War of Independence (1954–1962) and World War Two (1939–1945) respectively. The films employ space and spatial metaphors to articulate and insist on the place of Maghrebi-French people in France. In doing so, they work to disrupt dominant imaginaries of Paris, whilst also revealing the possibilities for resistance in the city as seen from the point-of-view of North-African immigrants. The films are a significant part of a cultural and commercial ‘shift’ toward more mainstream filmmaking in Maghrebi-French cinema. Through reading some of the spaces in the films, this paper interrogates the ways in which they map new geographies of a (post)colonial Paris reimagined at the intersections of colonialism, beur cinema, and Hollywood. The geographical imaginaries constituted in the films are read as the product of a stylistic aesthetic that helps to locate Maghrebi-French identity beyond the confines of the French banlieue. In doing so, the paper contributes to recent debates around cultural flows and exchanges in transnational cinema by centring the importance of space in the context of an aesthetic shift in Maghrebi-French cinema.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"31 1","pages":"233 - 248"},"PeriodicalIF":0.2,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75539418","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 : 2021-09-02DOI: 10.1080/25785273.2021.1989803
Arezou Zalipour
{"title":"Cinema and the cultural cold war: US diplomacy and the origins of the Asian cinema network","authors":"Arezou Zalipour","doi":"10.1080/25785273.2021.1989803","DOIUrl":"https://doi.org/10.1080/25785273.2021.1989803","url":null,"abstract":"","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"40 1","pages":"249 - 250"},"PeriodicalIF":0.2,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"84046068","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 : 2021-09-02DOI: 10.1080/25785273.2021.1989165
A. Higson
ABSTRACT The national has not withered away in the era of globalisation, and national cinemas still persist in various ways, even in the smallest nations. Using data collected for the MeCETES project, this article (the first of two looking at these issues) examines the evidence of popular national cinemas in contemporary Europe (2005–2015). It looks at admissions data for domestic productions, nation by nation, demonstrating that most European countries enjoy a small number of considerable national successes each year. In 2011, for instance, the French production, Intouchables, topped France’s admissions chart (and also did extraordinarily well across Europe). National productions also outranked all other films, including multi-million-dollar Hollywood blockbusters, in Italy, the Netherlands, the UK, Poland and the Czech Republic. The majority of these national successes were small-scale films, with themes, characters or subject-matter that resonated in the country of production. Few of them were co-productions and few travelled successfully across borders. National audiences showed a remarkable commitment to such films, demonstrating that popular national cinema is still a meaningful presence across Europe. The second article (Part Two) will look at some of the strategies deployed to create attractive and repeatable consumer products, the most common being genre. It will then re-visit the concept of national cinema, asking what role it plays in the era of globalisation.
{"title":"The resilience of popular national cinemas in Europe (Part one)","authors":"A. Higson","doi":"10.1080/25785273.2021.1989165","DOIUrl":"https://doi.org/10.1080/25785273.2021.1989165","url":null,"abstract":"ABSTRACT The national has not withered away in the era of globalisation, and national cinemas still persist in various ways, even in the smallest nations. Using data collected for the MeCETES project, this article (the first of two looking at these issues) examines the evidence of popular national cinemas in contemporary Europe (2005–2015). It looks at admissions data for domestic productions, nation by nation, demonstrating that most European countries enjoy a small number of considerable national successes each year. In 2011, for instance, the French production, Intouchables, topped France’s admissions chart (and also did extraordinarily well across Europe). National productions also outranked all other films, including multi-million-dollar Hollywood blockbusters, in Italy, the Netherlands, the UK, Poland and the Czech Republic. The majority of these national successes were small-scale films, with themes, characters or subject-matter that resonated in the country of production. Few of them were co-productions and few travelled successfully across borders. National audiences showed a remarkable commitment to such films, demonstrating that popular national cinema is still a meaningful presence across Europe. The second article (Part Two) will look at some of the strategies deployed to create attractive and repeatable consumer products, the most common being genre. It will then re-visit the concept of national cinema, asking what role it plays in the era of globalisation.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"22 1","pages":"199 - 219"},"PeriodicalIF":0.2,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"75317892","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 : 2021-09-02DOI: 10.1080/25785273.2021.1989166
A. Higson
ABSTRACT This the second of two articles looking at the persistence of popular national cinemas in contemporary Europe. Drawing on research undertaken for the MeCETES project, the first article (Part One) examined admissions data for domestic productions in the period 2005–2015, demonstrating that most European countries enjoy a small number of considerable national successes each year. This second article (Part Two), provides further evidence that the national has not withered away in the era of globalisation, and revisits the concept of national cinema in this context. The majority of the national successes in European countries were small-scale films, with themes, characters or subject-matter that resonated in the country of production, and few of them travelled successfully across borders. Among strategies deployed to create attractive and repeatable consumer products, the most common was genre: most domestically successful national productions were comedies set in the present. Clearly, popular national cinema is still a meaningful presence across Europe, but it provides a different version of the nation to those presented under the auspices of nation-branding. These are two variants of national cinema in the era of the neo-liberal global economy.
{"title":"The resilience of popular national cinemas in Europe (Part Two)","authors":"A. Higson","doi":"10.1080/25785273.2021.1989166","DOIUrl":"https://doi.org/10.1080/25785273.2021.1989166","url":null,"abstract":"ABSTRACT This the second of two articles looking at the persistence of popular national cinemas in contemporary Europe. Drawing on research undertaken for the MeCETES project, the first article (Part One) examined admissions data for domestic productions in the period 2005–2015, demonstrating that most European countries enjoy a small number of considerable national successes each year. This second article (Part Two), provides further evidence that the national has not withered away in the era of globalisation, and revisits the concept of national cinema in this context. The majority of the national successes in European countries were small-scale films, with themes, characters or subject-matter that resonated in the country of production, and few of them travelled successfully across borders. Among strategies deployed to create attractive and repeatable consumer products, the most common was genre: most domestically successful national productions were comedies set in the present. Clearly, popular national cinema is still a meaningful presence across Europe, but it provides a different version of the nation to those presented under the auspices of nation-branding. These are two variants of national cinema in the era of the neo-liberal global economy.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"26 1","pages":"220 - 232"},"PeriodicalIF":0.2,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"91278068","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 : 2021-09-02DOI: 10.1080/25785273.2021.1991644
C. Berry
ABSTRACT A decade ago, I wrote a piece called ‘What Is Transnational Cinema? Thinking from the Chinese Situation’. It argued that knowledge is situational and perspectival; what transnational cinema is depends on when and where you are looking from and writing about. It observed and analysed two current phenomena relevant to understanding what Chinese transnational cinema was then: the growth of cross-border Chinese film production involving the People’s Republic, Hong Kong, Taiwan and more, known as ‘Chinese-language cinemas’ (huayu dianying); and the larger phenomenon of globalisation. This article asks what has changed since and proposes ‘cinemas of the Sinosphere’ as an idea to encompass those changes. However, the term refers to two very different phenomena. First, it responds to the higher profile of films that are part of a Chinese cultural sphere but not in a Sinitic language, rendering the idea of ‘Chinese-language cinemas’ inadequate. Second, it acknowledges the re-emergence of the nation-state and what some people call the ‘Second Cold War’ or what I call a ‘Two Globalizations’ phenomenon, and it refers to the cinema of the People’s Republic of China under the conditions of the Belt and Road Initiative and the non-Chinese cinemas that respond to it.
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Pub Date : 2021-09-02DOI: 10.1080/25785273.2021.2011092
Vesna Lukić
film industry’, despite the fascinating, significant developments and transformations that different regional industries have lived and experienced through the post-war Asia. Cinema and Cultural Cold War: US Diplomacy and the Origins of the Asian Cinema Network is a highly recommended book for those interested in an overall understanding of American involvement in Asian cinema industries during the cultural Cold War.
{"title":"Contemporary Balkan cinema: transnational exchanges and global circuits","authors":"Vesna Lukić","doi":"10.1080/25785273.2021.2011092","DOIUrl":"https://doi.org/10.1080/25785273.2021.2011092","url":null,"abstract":"film industry’, despite the fascinating, significant developments and transformations that different regional industries have lived and experienced through the post-war Asia. Cinema and Cultural Cold War: US Diplomacy and the Origins of the Asian Cinema Network is a highly recommended book for those interested in an overall understanding of American involvement in Asian cinema industries during the cultural Cold War.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"14 1","pages":"250 - 252"},"PeriodicalIF":0.2,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89964559","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 : 2021-05-04DOI: 10.1080/25785273.2021.1976467
C. Holmlund
ABSTRACT Gräns (Border, dir. Ali Abbasi, 2018) crosses geographical, generic, gendered, and speciated borders. It speaks to Nordic folkloric traditions and engages with Swedish socio-political issues. It also addresses broadly familiar concerns and draws on recognized genre conventions. Critical reception was polyphonic, demonstrating how much readings are produced within and delimited by specific geo-political contexts. In today’s Western world, some cultural perimeters are widened; others are trampled.
{"title":"Gräns (Border, dir. Ali Abbasi, 2018) and borders: transnational ties, Nordic roots, Swedish knowledge in critical reception","authors":"C. Holmlund","doi":"10.1080/25785273.2021.1976467","DOIUrl":"https://doi.org/10.1080/25785273.2021.1976467","url":null,"abstract":"ABSTRACT Gräns (Border, dir. Ali Abbasi, 2018) crosses geographical, generic, gendered, and speciated borders. It speaks to Nordic folkloric traditions and engages with Swedish socio-political issues. It also addresses broadly familiar concerns and draws on recognized genre conventions. Critical reception was polyphonic, demonstrating how much readings are produced within and delimited by specific geo-political contexts. In today’s Western world, some cultural perimeters are widened; others are trampled.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"1 1","pages":"150 - 168"},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"77555930","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 : 2021-05-04DOI: 10.1080/25785273.2021.1957377
A. Weiss
ABSTRACT This paper explores the conflict over memory in East Asia by analyzing three pan-Asian film productions that attempt to produce a shared transnational memory of World War II: Purple Sunset (China, 2001), Distant Bonds (Japan, 2009), and My Way (South Korea, 2011). Using Hjort’s taxonomy of transnational cinemas (2009), it argues that all three productions appeal to pan-Asian transnational memory through affinitive transnationalism (transnational memory based on shared cultural heritage), but their overall transnational strategies diverge into cosmopolitan, modernizing, and globalizing transnationalism. Each strategy works to varying success for domestic and international audiences, suggesting that the cultural production of transnational memory remains elusive in the East Asian context. This paper ends with the question of whether cohesive transnational war memory is possible in East Asian cinema, and more broadly, how a stronger trend of pan-Asian transnational filmmaking might emerge outside of contested topics like World War II.
{"title":"‘Transnational film, transnational memory? Collective remembrance in recent pan-asian war films’","authors":"A. Weiss","doi":"10.1080/25785273.2021.1957377","DOIUrl":"https://doi.org/10.1080/25785273.2021.1957377","url":null,"abstract":"ABSTRACT This paper explores the conflict over memory in East Asia by analyzing three pan-Asian film productions that attempt to produce a shared transnational memory of World War II: Purple Sunset (China, 2001), Distant Bonds (Japan, 2009), and My Way (South Korea, 2011). Using Hjort’s taxonomy of transnational cinemas (2009), it argues that all three productions appeal to pan-Asian transnational memory through affinitive transnationalism (transnational memory based on shared cultural heritage), but their overall transnational strategies diverge into cosmopolitan, modernizing, and globalizing transnationalism. Each strategy works to varying success for domestic and international audiences, suggesting that the cultural production of transnational memory remains elusive in the East Asian context. This paper ends with the question of whether cohesive transnational war memory is possible in East Asian cinema, and more broadly, how a stronger trend of pan-Asian transnational filmmaking might emerge outside of contested topics like World War II.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"53 3","pages":"115 - 133"},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"72439447","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 : 2021-05-04DOI: 10.1080/25785273.2021.1954844
Teck Fann Goh
ABSTRACT This article traces the historical transformations of the Japanese film festivals (JFFs) in the Asia-Pacific, reflecting on the reasons behind their emergence and subsequent expansion. It identifies JFFs as cultural diplomacy film festivals due to the participation of the Japanese government in facilitating the events. By situating the analysis within the global, regional, national and local trends that gave rise to the JFF model, we can better understand the roles these festivals have played in the promotion of national cultures abroad since their inception. Drawing on archival materials, personal interviews with the festival organizers, and institutional documents, this essay will show that the developments of JFFs are influenced by several interconnected discourses including the proliferation of the film festival format globally, changes in Japanese cultural diplomacy, the globalization of Japanese popular culture, and soft power discourse in the region. In engaging with these forces, JFFs evolved from sporadic small-scale film screening events with limited international reach to institutionalized festivals characterized by their growing commercial approach and broader programs.
{"title":"The emergence of Japanese film festivals in the Asia-Pacific 1990-2018","authors":"Teck Fann Goh","doi":"10.1080/25785273.2021.1954844","DOIUrl":"https://doi.org/10.1080/25785273.2021.1954844","url":null,"abstract":"ABSTRACT This article traces the historical transformations of the Japanese film festivals (JFFs) in the Asia-Pacific, reflecting on the reasons behind their emergence and subsequent expansion. It identifies JFFs as cultural diplomacy film festivals due to the participation of the Japanese government in facilitating the events. By situating the analysis within the global, regional, national and local trends that gave rise to the JFF model, we can better understand the roles these festivals have played in the promotion of national cultures abroad since their inception. Drawing on archival materials, personal interviews with the festival organizers, and institutional documents, this essay will show that the developments of JFFs are influenced by several interconnected discourses including the proliferation of the film festival format globally, changes in Japanese cultural diplomacy, the globalization of Japanese popular culture, and soft power discourse in the region. In engaging with these forces, JFFs evolved from sporadic small-scale film screening events with limited international reach to institutionalized festivals characterized by their growing commercial approach and broader programs.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"4 1","pages":"99 - 114"},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"81075353","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 : 2021-05-04DOI: 10.1080/25785273.2021.1962065
Mohd Erman Maharam
ABSTRACT This article proposes a transnational structure for the examination of films from Malaysia, Singapore, Indonesia, and the Philippines based on the concept of Nusantara as a region characterised by a shared worldview, values, and principles. Particular attention is paid to how films from these countries can be studied based on representation through the use of regional themes and cultural codes. Additionally, this article also examines ‘cultural identity’ from shared history and ancestry, something which the cinemas of the four nations and the surrounding populations have in common. And, rather than just seeing films through the national lens it suggests that ‘critical transnationalism’ justifies looking at how the people of these countries view themselves through film representations and determines how to connect them. There are three themes that may provide an answer to the question of shared cultural identities in films of these countries, first, the concept of ‘tanahair’ which in Malay means ‘homeland’, second, the distinctive regional form of mobility called ‘merantau’ (to go on a journey, to wander) and, third, the degree of ambiguity and perplexity among the inhabitants of borderlands in films. This research found that ‘critical transnationalism’ is a reliable way to avoid the constraint of state-centrism in the discussion of films from these Southeast Asian countries.
{"title":"Transnational cultures of Malaysian, Indonesian, Singaporean, and Philippine national cinema","authors":"Mohd Erman Maharam","doi":"10.1080/25785273.2021.1962065","DOIUrl":"https://doi.org/10.1080/25785273.2021.1962065","url":null,"abstract":"ABSTRACT This article proposes a transnational structure for the examination of films from Malaysia, Singapore, Indonesia, and the Philippines based on the concept of Nusantara as a region characterised by a shared worldview, values, and principles. Particular attention is paid to how films from these countries can be studied based on representation through the use of regional themes and cultural codes. Additionally, this article also examines ‘cultural identity’ from shared history and ancestry, something which the cinemas of the four nations and the surrounding populations have in common. And, rather than just seeing films through the national lens it suggests that ‘critical transnationalism’ justifies looking at how the people of these countries view themselves through film representations and determines how to connect them. There are three themes that may provide an answer to the question of shared cultural identities in films of these countries, first, the concept of ‘tanahair’ which in Malay means ‘homeland’, second, the distinctive regional form of mobility called ‘merantau’ (to go on a journey, to wander) and, third, the degree of ambiguity and perplexity among the inhabitants of borderlands in films. This research found that ‘critical transnationalism’ is a reliable way to avoid the constraint of state-centrism in the discussion of films from these Southeast Asian countries.","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":"50 1","pages":"134 - 149"},"PeriodicalIF":0.2,"publicationDate":"2021-05-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"86202530","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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