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.
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Pub Date : 2021-05-04DOI: 10.1080/25785273.2021.1965310
Anirban K. Baishya
Disciplines and arenas of scholarly endeavour are rarely fixed categories. While they do not change overnight, over a period of time one can track how they expand their boundaries. Nomenclatures and categories are often the semiotic vanguard of such changes. Perhaps in the case of cinema studies, especially as it relates to the Society of Cinema and Media Studies, one can easily identify two such moments – the year 2002, when the organization changed its official name from Society of Cinema Studies, and 2018, when the name of its peer-reviewed journal was changed from Cinema Journal to The Journal of Cinema and Media Studies. Such changes in name are a sign of disciplinary evolution, and an attempt to account for the efflorescence of new objects, trends and directions that emerge with tectonic shifts in the dimensions of the discipline. The ripple effects of such changes were clearly visible in the proceedings of the Transnational Cinemas Special Interest Group (SIG) at the 2019 Society of Cinema and Media Studies Conference held in Seattle. Founded in 2012, the Transnational Cinemas SIG has been discussing a potential change in its name since last year to reflect the larges shifts in the discipline, and also better represent the work of its members who work on areas of screen culture and media studies beyond just cinema. From its very inception, the Transnational Cinema SIG annual meeting has been a space of discussion about such issues. Questions such as what the ‘transnational’ is, what are its methodological implications and what is its relevance to the study of cinema have been integral part of these annual meetings, leading in one case, to a roundtable on this topic that was published in the Frames Cinema Journal in 2016. It is perhaps this scholarly investment that has made the question of nomenclature so important to the SIG. At this year’s Transnational Cinemas SIG annual board meeting held on 13 March 2019, this question re-emerged as a key point of discussion among its attendees. Keeping with the theme of nomenclature, one of the key announcements made at the meeting on behalf of Deborah Shaw, was the change in the name of Transnational Cinemas journal (2010–2018) to its current form, Transnational Screens. The annual meeting was also where two key announcements were made. First and foremost, elections for two posts in the board membership were made – one for the post of Graduate Student Representative, and the other for the post of Co-President, to replace Elena Caoduro stepped down after a two-year stint with Raphael Raphael. The other key announcement was the declaration of the first Transnational Cinemas Graduate Student Writing Prize.
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Pub Date : 2021-05-04DOI: 10.1080/25785273.2021.1922059
Bianca Fox
The rapid uptake of mobile technology worldwide (see Kemp 2020) has led to an unprecedented number of households owning and using a multitude of screen devices, both conventional (radio, television) and new (laptops, smartphones or tablets) to access media content. Being brought up in a media saturated society, children too have become accustomed to using multiple screens for a numerous activites, at home and at school. While it is true that some television programmes are still preferred by children, it also true that children's viewing habits are increasingly changing, with children largely watching and accessing media content on mobile devices (Ofcom 2019). As children’s media and viewing practices are changing, a burgeoning interest in understanding the practice of producing content that reaches younger audiences has emerged. Sakr and Steemers’ ‘Screen Media for Arab and European Children: Policy and Production Encounters in the Multiplatform Era’ is one of a growing number of works, that explore children’s screen media production, distribution and policy. The unique nature of the book, however, lies in the fact that it offers a compelling synthesis of the crosscultural connections in the process of sourcing, creating and disseminating screen content for children; examining screen productions from two parts of the world that are not typically addressed together, namely the Arab regions and Europe. In doing so, the book aims to raise awareness of the current challenges of producing screen media for children, whilst at the same time stimulate dialogue and enhance collaboration between Arab and European countries. Furthermore, as the authors put it:
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Pub Date : 2021-01-02DOI: 10.1080/25785273.2021.1909294
Celestino Deleyto
ABSTRACT This article examines the Netflix-produced film The King (David Michôd, 2019) from a transnational perspective. It inscribes the new film within the micro-history of cinema adaptations of William Shakespeare’s Henry V. The two earlier adaptations, Laurence Olivier’s Henry V (1944) and Kenneth Branagh’s Henry V (1989) were representative of the national imagination, a feature which they shared with most productions of Shakespeare’s plays in the 20th century. The King is, like Olivier’s and Branagh’s versions, a film of its time: not only was it released through the most successful of streaming platforms but also, as an early 21st century audiovisual product, it finally takes the play beyond the framework of the national. The film is a transnational film because of its location in Netflix, because of its transnational cast and crew and production history and because it deals with transnational issues that speak directly to millions of potential contemporary spectators. Narratively, this sensibility is intertwined with a feminist ideology that reflects recent changes in gender awareness. The intersection of feminist and transnational aspirations marks the film as an exceptional cultural text of the end of the second decade of the 21st century.
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Pub Date : 2021-01-02DOI: 10.1080/25785273.2021.1889095
D. Carson
References Berry, Chris., and Luke Robinson, eds. 2017. Chinese Film Festivals: Sites of Translation. Framing Film Festivals. New York: Palgrave Macmillan. de Valck, Marijke. 2007. Film Festivals: From European Geopolitics to Global Cinephilia. Amsterdam: Amsterdam University Press. Dovey, Lindiwe. 2015. Curating Africa in the Age of Film Festivals. New York: Palgrave Macmillan. Moore, M., dir. 2002. Bowling for Columbine. Beverly Hills, CA: MGM Home Entertainment, 2003. DVD Richards, Stuart. 2016. The Queer Film Festival. Framing Film Festivals. New York: Palgrave Macmillan. Stevens, Kirsten. 2016. Australian Film Festivals: Audience, Place, and Exhibition Culture. New York, NY: Palgrave Macmillan. Tsing, A. 1994. “From the Margins.” Cultural Anthropology 9 (3): 279–297. doi:10.1525/ can.1994.9.3.02a00020. Vallejo, Aida, and Winton, Ezra, eds. 2020a. Documentary Film Festivals: Changes, Challenges, Professional Perspectives. Vol. 2. Cham, Switzerland: Palgrave Macmillan Vallejo, Aida, and Winton, Ezra, eds. 2020b. Documentary Film Festivals: Methods, History, Politics. Vol. 1. Cham, Switzerland: Palgrave Macmillan
{"title":"When the world laughs: film comedy east and west","authors":"D. Carson","doi":"10.1080/25785273.2021.1889095","DOIUrl":"https://doi.org/10.1080/25785273.2021.1889095","url":null,"abstract":"References Berry, Chris., and Luke Robinson, eds. 2017. Chinese Film Festivals: Sites of Translation. Framing Film Festivals. New York: Palgrave Macmillan. de Valck, Marijke. 2007. Film Festivals: From European Geopolitics to Global Cinephilia. Amsterdam: Amsterdam University Press. Dovey, Lindiwe. 2015. Curating Africa in the Age of Film Festivals. New York: Palgrave Macmillan. Moore, M., dir. 2002. Bowling for Columbine. Beverly Hills, CA: MGM Home Entertainment, 2003. DVD Richards, Stuart. 2016. The Queer Film Festival. Framing Film Festivals. New York: Palgrave Macmillan. Stevens, Kirsten. 2016. Australian Film Festivals: Audience, Place, and Exhibition Culture. New York, NY: Palgrave Macmillan. Tsing, A. 1994. “From the Margins.” Cultural Anthropology 9 (3): 279–297. doi:10.1525/ can.1994.9.3.02a00020. Vallejo, Aida, and Winton, Ezra, eds. 2020a. Documentary Film Festivals: Changes, Challenges, Professional Perspectives. Vol. 2. Cham, Switzerland: Palgrave Macmillan Vallejo, Aida, and Winton, Ezra, eds. 2020b. Documentary Film Festivals: Methods, History, Politics. Vol. 1. Cham, Switzerland: Palgrave Macmillan","PeriodicalId":36578,"journal":{"name":"Transnational Screens","volume":null,"pages":null},"PeriodicalIF":0.2,"publicationDate":"2021-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"89137590","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 : 2021-01-02DOI: 10.1080/25785273.2021.1889096
P. Patra
has increased significantly with a proliferation of publications, conferences, and scholarly groups. Many articles and books focus on one national cinema (e.g. China, Australia, Japan, Finland, Mexico) interrogating global connections and influence. Other works offer overviews of this emerging disciplinary field. An important addition to transnational cinema scholarship, Costanzo’s When the World Laughs is the first to focus on Film Comedy East and West. Rich with provocative ideas for comparisons and contrasts among countries and regions, it is a rewarding place to begin, expanding this field of inquiry and inviting constructive engagement.
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Pub Date : 2021-01-02DOI: 10.1080/25785273.2021.1873572
Rob Stone, L. Freijo
ABSTRACT Hypotheses that instigated the possibility of destabilising and de-westernising film theory have inspired a critical framework for analysing World Cinema that demands new and evolving understandings of its construction and fluidity, particularly in relation to its lost pasts and possible futures. Referencing several key works in this field and responding to David Martin-Jones’s Cinema Against Doublethink: Ethical Encounters with the Lost Pasts of World History (2019) in particular, this article questions what is unknowable and as yet unknown about World Cinema. Following Derrida, it argues that the answers lie in how World Cinema gains meaning(s) through the process of différance (difference and deferral of meaning), particularly through genre. Deploying and dismantling genre theory in case studies of Wind River (Sheridan 2017), Chung Hing sam la/Chungking Express (Wong 1994), Faa yeung nin wa/In The Mood for Love (Wong 2000), Moonlight (Jenkins 2016) and Widows (McQueen 2018), the article targets the logjam of ethical hesitancy in approaching World Cinema and, holding that impurities in western cinema constitute trace evidence of new paradigms happening elsewhere in World Cinema, posits empathy and its deferral as essential to an understanding of the dynamics of the cinemas of the world.
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Pub Date : 2021-01-02DOI: 10.1080/25785273.2021.1876446
Subha Xavier, C. Michael
ABSTRACT This article explores the ways in which the dual visions of French director Jacques Audiard and Sri Lankan Tamil writer Shobasakhti, despite a blatant lack of linguistic communication, come to cohabit the spaces and places depicted in Dheepan (2015), a film narrative about immigrant experience. As Audiard delegated decisions about on–set interactions and dialogue to his lead actor and the other Tamil cast members, he relegated his own role to a shaping of the sensorial dimensions of a human story– something the film does in strikingly cinematographic terms. In so doing, the pair constructed the contradictory backbone of a text that in many ways evades coherent political comprehension– at once an earnest attempt at depicting a ‘universal’ experience of marginalization (Audiard) and a scathing exposé of the West’s blind spots with regard to the Tamil situation in Sri Lanka (Shobashakthi). Combining one artist’s well–meaning contrivance and another’s quest for recognition, the film begins to emerge as something else entirely – an ideologically confusing, yet viscerally compelling, reflection on violence, its traumas, and its representational limits, filtered through the experience of a former Tamil Tiger. As concrete details about the Sri Lankan conflict and its human costs coagulate in the film’s affective pretensions, we re–conceive their purpose as not just remnants of a failed vanity project, but also an example of the transitive dynamics and inequitable flows of transnational screen culture, and of a globally minded art cinema at its most ideologically imperfect.
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Pub Date : 2021-01-02DOI: 10.1080/25785273.2021.1879555
Jamie Chambers, W. Higbee
ABSTRACT This article seeks to inaugurate the study of a folk cinema through co-positioning a pair of historically and culturally disparate case studies from Scotland and Morocco in Utopian montage. In doing so we explore the shared concerns and solidarities which Play Me Something (Timothy Neat, Scotland, 1990) an independent, arthouse film set on the small Scottish island of Barra, may complexly have in common with Amussu (Nadir Bouhmouch, Morocco, 2020), a politically-charged documentary made collectively with the indigenous Imider community in southeast Morocco. We do so within an interdisciplinary theoretical framework drawing from aspects of political theory, cultural studies and social geography, and contemporary discussions of political populism. Ultimately, we reflect upon what such an act of montage – articulating the Utopian promise of the folk revival, albeit within the more sobering context of 2021 – may illuminate for emergent perspectives on a transnational folk cinema that may, complexly, serve as a form of globalism from below.
本文试图通过在《乌托邦蒙太奇》中对苏格兰和摩洛哥两个历史和文化截然不同的案例进行定位，开创民间电影的研究。在这样做的过程中，我们探讨了共同的关注和团结。《Play Me Something》(蒂莫西·尼特，苏格兰，1990年)是一部以苏格兰小岛巴拉为背景的独立艺术电影，它可能与《Amussu》(纳迪尔·布赫穆奇，摩洛哥，2020年)有着复杂的共同之处，后者是一部与摩洛哥东南部土著伊米德社区共同制作的政治纪录片。我们在跨学科的理论框架内这样做，从政治理论、文化研究和社会地理学的各个方面，以及当代政治民粹主义的讨论。最后，我们反思这样的蒙太奇行为——尽管在2021年更发人深省的背景下，阐明了民间复兴的乌托邦承诺——可能会为跨国民间电影的新兴视角提供启示，这种电影可能会复杂地作为一种自下而上的全球主义形式。
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