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From the precocious charms of Shirley Temple to the box-office
behemoth Frozen and its two young female leads, Anna and Elsa, the
girl has long been a figure of fascination for cinema. The symbol
of (imagined) childhood innocence, the site of intrigue and
nostalgia for adults, a metaphor for the precarious nature of
subjectivity itself, the girl is caught between infancy and
adulthood, between objectification and power. She speaks to many
strands of interest for film studies: feminist questions of
cinematic representation of female subjects; historical accounts of
shifting images of girls and childhood in the cinema; and
philosophical engagements with the possibilities for the subject in
film. This collection considers the specificity of girls'
experiences and their cinematic articulation through a
multicultural feminist lens which cuts across the divides of
popular/art-house, Western/non Western, and north/south. Drawing on
examples from North and South America, Asia, Africa, and Europe,
the contributors bring a new understanding of the global/local
nature of girlhood and its relation to contemporary phenomena such
as post-feminism, neoliberalism and queer subcultures. Containing
work by established and emerging scholars, this volume explodes the
narrow post-feminist canon and expands existing geographical,
ethnic, and historical accounts of cinematic cultures and girlhood.
For many East Asian nations, cinema and Japanese Imperialism
arrived within a few years of each other. Exploring topics such as
landscape, gender, modernity and military recruitment, this study
details how the respective national cinemas of Japan's territories
struggled under, but also engaged with, the Japanese Imperial
structures. Japan was ostensibly committed to an ethos of
pan-Asianism and this study explores how this sense of the
transnational was conveyed cinematically across the occupied lands.
Taylor-Jones traces how cinema in the region post-1945 needs to be
understood not only in terms of past colonial relationships, but
also in relation to how the post-colonial has engaged with shifting
political alliances, the opportunities for technological
advancement and knowledge, the promise of larger consumer markets,
and specific historical conditions of each decade.
For many East Asian nations, cinema and Japanese Imperialism
arrived within a few years of each other. Exploring topics such as
landscape, gender, modernity and military recruitment, this study
details how the respective national cinemas of Japan's territories
struggled under, but also engaged with, the Japanese Imperial
structures. Japan was ostensibly committed to an ethos of
pan-Asianism and this study explores how this sense of the
transnational was conveyed cinematically across the occupied lands.
Taylor-Jones traces how cinema in the region post-1945 needs to be
understood not only in terms of past colonial relationships, but
also in relation to how the post-colonial has engaged with shifting
political alliances, the opportunities for technological
advancement and knowledge, the promise of larger consumer markets,
and specific historical conditions of each decade.
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