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This book challenges the established conceptual and historical
paradigm in Anglo-American film studies that perceives European
cinema as essentially "high art." Through a study of the specific
contexts in which popular European films are produced, distributed
and exhibited, the book proposes new analytical and critical
frameworks for their study. Films analyzed in the book include
"Cinema Paradiso", "Mediterraneo", "Bhaji on the Beach", "Until the
End of the World", "Underground", and "JamonJamon".
Cinematic Journeys explores the interconnected histories, theories
and aesthetics of mobile vision and cinematic movement. It traces
the links between certain types of movement of/in the frame and
broader cultural trends that have historically informed Western
sensibilities. It contextualises that genealogy with detailed
analysis of contemporary and recent 'travel films' as well as older
works. The book investigates how movements of exploration,
discovery and revelation are activated in specific cinematic
narratives of travelling and displacement. Such narratives are
analysed with attention to the mass population movements and
displacements that form their referential background. Cinematic
Journeys also examines the ways in which travelling affects film
itself. Case studies focus on films as travelling commodities (with
the popularity of Indian films in Greece in the 1950s and 60s as
case study); and, through a study of subtitles, on the category of
the 'foreign spectator' (who in the encounter with 'foreign' films
moves across cultural borders). Films considered in the book
include Sunrise, Slow Motion, Hukkle, Death in Venice, Voyage to
Italy, The Motorcycle Diaries, Koktebel, Japon, Blackboards,
Ulysses' Gaze, and the work of directors Tony Gatliff and Fatih
Akin.
Asian cinema is an area of increasing interest in Anglo-US film
studies while Asian films are now widely distributed and popular
with western audiences. The fascination with Asian cinema must be
examined in the context of a complex and often problematic
relationship between western scholars, students, viewers and Asian
films. This book, therefore, examines a number of detailed case
studies (such as the films of Ozu, Bruce Lee, Hong Kong and Turkish
cinema, Hindi melodramas, Godzilla films, Taiwanese directors and
Fifth Generation Chinese cinema) and uses them in order to
investigate the limitations of Anglo-US theoretical models and
critical paradigms. By engaging the readers with familiar areas of
critical discourse (such as postcolonial criticism, 'national
cinema', 'genre', 'authorship' and 'stardom') the book aims to
introduce within such contexts the 'unfamiliar' case studies which
will be explored in depth and detail. The advantage of such an
approach is that it works with the dynamics of
familiarity/unfamiliarity and resists the temptation to construct
Asian cinemas as a gallery of exotic objects that might be
particularly fascinating but remain deeply distant and foreign.
Features *A comprehensive study of Asian cinemas, including Hong
Kong, Japan, China, India, Turkey and Taiwan *An accessible guide
for the study and research of Asian cinema which addresses
undergraduate and postgraduate students and researchers * Each
section contains a contextualising introduction * Includes key
texts by Ackbar Abbas, Rey Chow, David Desser, Dimitris
Eleftheriotis, Nezih Erdo
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