This title highlights the industries, markets, identities, and
histories that distinguish cinema beyond the traditional hubs of
mainstream Western cinema. From Iceland to Iran, from Singapore to
Scotland, a growing intellectual and cultural wave of production is
taking cinema beyond the borders of its place of origin - exploring
faraway places, interacting with barely known peoples, and making
new localities imaginable. In these films, previously entrenched
spatial divisions no longer function as firmly fixed grid
coordinates, the hierarchical position of place as 'center' is
subverted, and new forms of representation become possible. In
""Cinema at the Periphery"", editors Dina Iordanova, David
Martin-Jones, and Belen Vidal assemble criticism that explores
issues of the periphery, including questions of transnationality,
place, space, passage, and migration. ""Cinema at the Periphery""
examines the periphery in terms of locations, practices, methods,
and themes. It includes geographic case studies of small national
cinemas located at the global margins, like New Zealand and
Scotland, but also of filmmaking that comes from peripheral
cultures, like Palestinian 'stateless' cinema, Australian
Aboriginal films, and cinema from Quebec. Therefore, the volume is
divided into two key areas: industries and markets on the one hand,
and identities and histories on the other. Yet as a whole, the
contributors illustrate that the concept of 'periphery' is not
fixed but is always changing according to patterns of industry,
ideology, and taste. ""Cinema at the Periphery"" highlights the
inextricable interrelationship that exists between production modes
and circulation channels and the emerging narratives of histories
and identities they enable. In the present era of globalization,
this timely examination of the periphery will interest teachers and
students of film and media studies.
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