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En los últimos años la expresión “cine transnacional” se viene utilizando como sinónimo de “cine contemporáneo” puesto que las actuales condiciones de producción, distribución y consumo cinematográficos conducen a unas transformaciones, también estéticas, que difícilmente pueden explicarse desde las culturas y políticas nacionales. La imposibilidad o, como mínimo, la dificultad de asignar una nacionalidad única o mayoritaria constituye una de las principales características del cine, y de la producción audiovisual, contemporáneos. Los textos incluidos en esta edición se ocupan de estas transformaciones a través de ejemplos relacionados con espacios geopolíticos (los países que componen Mercosur); la recepción y el consumo de producciones audiovisuales latinas en Estados Unidos o con el análisis de espacios ficcionales transnacionales: la ciudad global, la frontera y otros no lugares contemporáneos. Estos trabajos coinciden en una idea más general: el carácter transnacional del cine contemporáneo no es un asunto estrictamente cinematográfico, sino también político, pues tanto su realidad como su imaginario geopolítico afectan también al propio concepto de ciudadanía.
By analyzing the negotiation of femininities and masculinities within contemporary Hollywood cinema, Postfeminism and Contemporary Hollywood Cinema presents diverse interrogations of popular cinema and illustrates the need for a renewed scholarly focus on contemporary film production.
From their first appearance in print, Dickens's fictions immediately migrated into other media, and particularly, in his own time, to the stage. Since then Dickens has continuously, apparently inexhaustibly, functioned as the wellspring for a robust mini-industry, sourcing plays, films, television specials and series, operas, new novels and even miniature and model villages. If in his lifetime he was justly called 'The Inimitable', since his death he has become just the reverse: the Infinitely Imitable. The essays in this volume, all appearing within the past twenty years, cover the full spectrum of genres. Their major shared claim to attention is their break from earlier mimetic criteria - does the film follow the novel? - to take the new works seriously within their own generic and historical contexts. Collectively, they reveal an entirely 'other' Dickensian oeuvre, which ironically has perhaps made Dickens better known to an audience of non-readers than to those who know the books themselves.
Is popular culture merely a process of creating, marketing, and consuming a final product, or is it an expression of the artist's surroundings and an attempt to alter them? Noted Argentine/Mexican anthropologist Néstor García Canclini addresses these questions and more in Transforming Modernity, a translation of Las culturas populares en el capitalismo. Based on fieldwork among the Purépecha of Michoacán, Mexico, some of the most talented artisans of the New World, the book is not so much a work of ethnography as of philosophy—a cultural critique of modernism. García Canclini delineates three interpretations of popular culture: spontaneous creation, which posits that artistic expression is the realization of beauty and knowledge; "memory for sale," which holds that original products are created for sale in the imposed capitalist system; and the tourist outlook, whereby collectibles are created to justify development and to provide insight into what capitalism has achieved. Transforming Modernity argues strongly for popular culture as an instrument of understanding, reproducing, and transforming the social system in order to elaborate and construct class hegemony and to reflect the unequal appropriation and distribution of cultural capital. With its wide scope, this book should appeal to readers within and well beyond anthropology—those interested in cultural theory, social thought, and Mesoamerican culture.
In this book, the authors examine manifestations of transmedia storytelling in different historical periods and countries, spanning the UK, the US and Argentina. It takes us into the worlds of Conan the Barbarian, Superman and El Eternauta, introduces us to the archaeology of transmedia, and reinstates the fact that it's not a new phenomenon.
This book provides a comprehensive overview of Hispanic applied linguistics, allowing students to understand the field from a variety of perspectives and offering insight into the ever-growing number of professional opportunies afforded to Spanish language program graduates. The goal of this book is to re-contextualize the notion of applied linguistics as simply the application of theoretical linguistic concepts to practical settings and to consider it as its own field that addresses language-based issues and problems in a real-world context. The book is organized into five parts: 1) perspectives on learning Spanish 2) issues and environments in Spanish teaching 3) Spanish in the professions 4) the discourses of Spanish and 5) social and political contexts for Spanish. The book’s all-inclusive coverage gives students the theoretical and sociocultural context for study in Hispanic applied linguistics while offering practical information on its application in the professional sector.