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Frontiers of Screen History is an edited collection that provides an insightful exploration into the depiction and imagination of European borders in cinema after the Second World War.
Frontiers of Screen History provides an insightful exploration into the depiction and imagination of European borders in cinema after World War II. The editors and authors bring forward the geopolitical issues at the basis both the films of world-wide distribution, known to many, and others, shot within confining conditions or inhighly local places, remain unknown within prevailing canons.
From the late 1970s into the early 1990s, a generation of female filmmakers took aim at their home countries’ popular myths of the frontier. Deeply influenced by second-wave feminism and supported by hard-won access to governmental and institutional funding and training, their trailblazing films challenged traditionally male genres like the Western. Instead of reinforcing the myths of nationhood often portrayed in such films—invariably featuring a lone white male hero pitted against the “savage” and “uncivilized” native terrain—these filmmakers constructed counternarratives centering on women and marginalized communities. In place of rugged cowboys violently removing indigenous peoples to make the frontier safe for their virtuous wives and daughters, these filmmakers told the stories of colonial and postcolonial societies from a female and/or subaltern point of view. Herstories on Screen is a transnational study of feature narrative films from Australia, Canada, the United States, and New Zealand/Aotearoa that deconstruct settler-colonial myths. Kathleen Cummins offers in-depth readings of ten works by a diverse range of women filmmakers including Jane Campion, Julie Dash, Merata Mita, Tracey Moffatt, and Anne Wheeler. She reveals how they skillfully deploy genre tropes and popular storytelling conventions in order to critique master narratives of feminine domesticity and purity and depict women and subaltern people performing acts of agency and resistance. Cummins details the ways in which second-wave feminist theory and aesthetics informed these filmmakers’ efforts to debunk idealized Anglo-Saxon femininity and motherhood and lay bare gendered and sexual violence and colonial oppression.
Despite creating an extensive and innovative body of work over the last 30 years, Aki Kaurismäki remains relatively neglected in Anglophone scholarship. This international collection of original essays aims to redress such neglect by assembling diverse critical inquiries into Kaurismäki's oeuvre. The first anthology on Kaurismäki to be published in English, it offers a range of voices responding to his politically and aesthetically compelling cinema. Deploying various methodologies to explore multiple facets of his work, The Films of Aki Kaurismäki will come to be seen as the definitive book on Kaurismäki.
This volume addresses the evolution of the visual in digital communities, offering a multidisciplinary discussion of the ways in which images are circulated in digital communities, the meanings that are attached to them and the implications they have for notions of identity, memory, gender, cultural belonging and political action. Contributors focus on the political efficacy of the image in digital communities, as well as the representation of the digital self in order to offer a fresh perspective on the role of digital images in the creation and promotion of new forms of resistance, agency and identity within visual cultures.
Topographies of Popular Culture departs from the deceptively simple notion that popular culture always takes place somewhere. By studying the spatial and topographic imaginations at work in popular culture, the book identifies and illustrates several specific tendencies that deserve increased attention in studies of the popular. In combining the study of popular texts with a broad variety of geographical contexts, the volume presents a global and cross-cultural approach to popular culture’s topographies. In part, Topographies of Popular Culture takes its cue from recent theorisations of spatiality in the field of critical theory, and from such global transformations as the processes and after-effects of decolonisation and globalisation. It contemplates the spatiality of genre and the interactions between the local and the global, as well as the increasing circulation and adaptation of popular texts across the globe. The ten individual chapters analyse the spaces of popular culture at a scale that extends from an individual’s everyday experience to genuinely global questions, offering new theoretical and analytical insights into the relation between spatiality and the popular.
Updated and revised for a popular audience, a fascinating new edition of the classic The American West: A New Interpretation examines the diverse peoples and cultures of the American West and the impact of their intermingling and clash, the influence of the frontier, and topics ranging from early exploration of the region to modern-day environmentalism.
Over the past decade, Ethiopian films have come to dominate the screening schedules of the many cinemas in Ethiopia’s capital city of Addis Ababa, as well as other urban centers. Despite undergoing an unprecedented surge in production and popularity in Ethiopia and in the diaspora, this phenomenon has been broadly overlooked by African film and media scholars and Ethiopianists alike. This collection of essays and interviews on cinema in Ethiopia represents the first work of its kind and establishes a broad foundation for furthering research on this topic. Taking an interdisciplinary approach to the topic and bringing together contributions from both Ethiopian and international scholars, the collection offers new and alternative narratives for the development of screen media in Africa. The book’s relevance reaches far beyond its specific locale of Ethiopia as contributions focus on a broad range of topics—such as commercial and genre films, diaspora filmmaking, and the role of women in the film industry—while simultaneously discussing multiple forms of screen media, from satellite TV to “video films.” Bringing both historical and contemporary moments of cinema in Ethiopia into the critical frame offers alternative considerations for the already radically changing critical paradigm surrounding the understandings of African cinema.
This book forms part of the multi-disciplinary Studies in Ethics Series from Liverpool Hope University. It explores the slipperiness of ethics as a concept and demonstrates the multiplicity of intellectual inquiry within contemporary Film Studies. At first glance, ‘ethics’ is not necessarily a subject conventionally associated with film. Film is often regarded as a form of ‘lowbrow’ popular culture, either offering bland entertainment or deliberately setting out to shock – or, more cynically, generate box office revenue – through gratuitous inclusion of sex and violence. Certainly, there have always been a minority of films based on the stereotypically ‘ethical’ subject of religion, but these have often generated the most controversy, from the studio system decree that it was blasphemous to represent the corporeal body of Christ to the furore surrounding Martin Scorsese’s The Last Temptation of Christ (1988). This book shows that from the silent era to the present day, film has been inherently concerned with ethical issues. In this light, the definition of ethics that informs the volume and is taken as the starting point of each of the chapters is the notion of personal or institutional motivation; most usually because a character or industry figure makes a decision or choice based on their own moral – or ethical – code. Once this is defined, the ethical dimension to films is immediately evident. This book takes as its central theme the difficulty of decisions refracted through personal ethical codes, and thus recognises that what counts as ethics, or morality, is always subjective. Some of the chapters explore films which take conventionally ‘good’ ethical standpoints, others investigate why ‘bad’ decisions were made; at least one explores the celebration of practices invoking popular disgust, but all the contributions study ethical decisions within film that represent the strongly felt convictions of those involved and, moreover, address aspects of filmmaking which force the spectator to be an active and reciprocal participant in the creation of meaning, thus implicitly acknowledging that ethics are subjective and in perpetual flux rather than fixed, objective truths.
Why is it that we so readily accept the boundary lines drawn around nations or around regions like ‘Asia’ as though they were natural and self-evident, when in fact they are so mutable and often so very arbitrary? What happens to people not only when the borders they seek to cross become heavily guarded, but also when new borders are drawn straight through the middle of their lives? The essays in this book address these questions by starting from small places on the borderlands of East Asia and looking outwards from the small towards the large, asking what these ‘minor pasts’ tell us about the grand narratives of history. In the process, it takes the reader on a journey from Renaissance European visions of ‘Tartary’, through nineteenth-century racial theorising, imperial cartography and indigenous experiences of modernity, to contemporary debates about Big History in an age of environmental crisis.