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    Global Cinema Networks

    Elena Gorfinkel (Edited by), Tami Williams (Edited by), Elena Gorfinkel (Contributions by), Dudley Andrew (Contributions by), Adrian Martin (Contributions by), John David Rhodes (Contributions by), James Tweedie (Contributions by), Laurent Guido (Contributions by), Karl Schoonover (Contributions by), Frank Ukadike (Contributions by), Patricia White (Contributions by), Luisela Alvaray (Contributions by), Peter Y. Paik (Contributions by), Gilberto M Blasini (Contributions by), Jian Xu (Contributions by), Tami Williams (Contributions by)

    9780813592732

    Hardback, published 17 August 2018

    284 pages, 49 b-w photographs
    22.9 x 15.2 x 2.1 cm, 0.029 kg

    “Assembling an impressive group of internationally recognized scholars, this ambitious volume offers a sustained engagement with cultural infrastructures like film festivals, visual motifs of the global, with a capaciousness that stretches global cinema across a century.” 
    - Nitin Govil (author of Orienting Hollywood: A Century of Film Culture between Los Angeles and Bombay)

    Global Cinema Networks investigates the evolving aesthetic forms, technological and industrial conditions, and social impacts of cinema in the twenty-first century. The collection’s esteemed contributors excavate sites of global filmmaking in an era of digital reproduction and amidst new modes of circulation and aesthetic convergence, focusing primarily on recent films made across Europe, Africa, Latin America, Asia, and the Middle East. Moving beyond the digital as a harbinger of transformation, the volume offers new ways of thinking about cinema networks in a historical continuum, from “international” to “world” to “transnational” to “global” frames.  

    Table of Contents

    Chapter 1: Introduction: Global Cinemas in a Time of Networks
    Elena Gorfinkel, King’
    s College London (U.K.)

    Part 1: Cartographies, Geopolitics, Aesthetics

    Chapter 2: Beyond and Beneath the Map of World Cinema
    Dudley Andrew, Yale University

    Chapter 3: Frame
    Adrian Martin, Monash University (Australia)

    Chapter 4: Abstraction and the Geopolitical: Lessons from Antonioni’
    s Trip to China
    John David Rhodes, University of Cambridge

    Chapter 5: The City of Bits and Urban Rule: Media Archaeology, Urban Space, and Contemporary Chinese Documentary
    James Tweedie, University of Washington

    Part 2: Global Ideality, History, Representation

    Chapter 6: Toward an Archeology of Global Rhythms: Melodie der Welt (Melody of the World, 1929) and its Reception in France
    Laurent Guido, University of Lille (France)

    Chapter 7: When Cinema was Humanism
    Karl Schoonover, University of Warwick

    Chapter 8: African Cinema: Digital Media and Expanding Frames of Representation
    N. Frank Ukadike, Tulane University, New Orleans

    Chapter 9: Changing Circumstances: Global Flows of Lesbian Cinema
    Patricia White, Swarthmore College

    Part 3: Kinships, Identifications, Genres

    Chapter 10: Hermano and La hora cero: Violence and Transgressive Subjectivities in Venezuelan Youth Cinema
    Luisela Alvaray, DePaul University

    Chapter 11: Between Love and the Moral Law: The Fatal Mother in Park Chan-wook’
    s Sympathy for Lady Vengeance
    Peter Y. Paik, Yonsei University (Korea)

    Chapter 12: The Queer Mexican Cinema of JuliÁ
    n HernÁ
    ndez
    Gilberto M. Blasini, University of Wisconsin–
    Milwaukee

    Chapter 13: The Gangster Film as World Cinema
    Jian Xu, University of Wisconsin–
    Milwaukee

    Chapter 14: Epilogue: 24 Frames: Regarding the Past and Future of Global Cinema
    Tami Williams, University of Wisconsin–
    Milwaukee
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