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Once heralded and defined by the likes of François Truffaut and Andrew Sarris as a romantic figure of aesthetic individualism, the auteur is reinvestigated here through a novel approach. Bringing established as well as emergent figures of world art cinema to the fore, The Global Auteur shows how politics and philosophy are present in the works of these important filmmakers. They can be still seen leading a fight that their glorious predecessors seemed to have abandoned in the face of global capitalism and the market economy. Yet, as the contributors show, a new world calls for a new cinema, and thus for new auteurs. Covering a range of global auteurs such as Lars von Trier, Lav Diaz, Lee Chang-dong and Abderrahmane Sissako, The Global Auteur provides a much-needed reassessment of the film auteur for the global age.
This study of Hong Kong cult director Wong Kar-wai provides an overview of his career and in-depth analysis of his seven feature films to date. Teo probes Wong's cinematic and literary influences - from Martin Scorsese to Haruki Murakami - yet shows how Wong transcends them all.
The volume is ideal for graduate and undergraduate courses on the long sixties, political cinema, 1968, and new waves in art history, cultural studies, and film and media studies.
On Women's Films looks at contemporary and classic films from emerging and established makers such as Maria Augusta Ramos, Xiaolu Guo, Valérie Massadian, Lynne Ramsay, Lucrecia Martel, Rakhshan Bani-Etemad, Chantal Akerman, or Claire Denis. The collection is also tuned to the continued provocation of feminist cinema landmarks such as Chick Strand's Soft Fiction; Barbara Loden's Wanda; Valie Export's Invisible Adversaries, Cecilia Mangini's Essere donne. Attentive to minor moments, to the pauses and the charge and forms bodies adopt through cinema, the contributors suggest the capacity of women's films to embrace, shape and question the world.
“I wrote this book because I believe that there is a serious gap in what has been written and communicated about cross-cultural management and what people actually struggle with on the ground.”—From the Introduction What does it mean to be a global worker and a true “citizen of the world” today? It goes beyond merely acknowledging cultural differences. In reality, it means you are able to adapt your behavior to conform to new cultural contexts without losing your authentic self in the process. Not only is this difficult, it’s a frightening prospect for most people and something completely outside their comfort zone. But managing and communicating with people from other cultures is an essential skill today. Most of us collaborate with teams across borders and cultures on a regular basis, whether we spend our time in the office or out on the road. What’s needed now is a critical new skill, something author Andy Molinsky calls global dexterity. In this book Molinsky offers the tools needed to simultaneously adapt behavior to new cultural contexts while staying authentic and grounded in your own natural style. Based on more than a decade of research, teaching, and consulting with managers and executives around the world, this book reveals an approach to adapting while feeling comfortable—an essential skill that enables you to switch behaviors and overcome the emotional and psychological challenges of doing so. From identifying and overcoming challenges to integrating what you learn into your everyday environment, Molinsky provides a guidebook—and mentoring—to raise your confidence and your profile. Practical, engaging, and refreshing, Global Dexterity will help you reach across cultures—and succeed in today’s global business environment.
The acclaimed historian demonstrates a link between climate change and social unrest across the globe during the mid-17th century. Revolutions, droughts, famines, invasions, wars, regicides, government collapses—the calamities of the mid-seventeenth century were unprecedented in both frequency and severity. The effects of what historians call the "General Crisis" extended from England to Japan and from the Russian Empire to sub-Saharan Africa and the Americas. In this meticulously researched volume, historian Geoffrey Parker presents the firsthand testimony of men and women who experienced the many political, economic, and social crises that occurred between 1618 to the late 1680s. He also incorporates the scientific evidence of climate change during this period into the narrative, offering a strikingly new understanding of the General Crisis. Changes in weather patterns, especially longer winters and cooler and wetter summers, disrupted growing seasons and destroyed harvests. This in turn brought hunger, malnutrition, and disease; and as material conditions worsened, wars, rebellions, and revolutions rocked the world.
Mind the Screen pays tribute to the work of the pioneering European film scholar Thomas Elsaesser, author of several volumes on media studies and cinema culture. Covering a full scope of issues arising from the author’s work—from melodrama and mediated memory to avant-garde practices, media archaeology, and the audiovisual archive—this collection elaborates and expands on Elsaesser’s original ideas along the topical lines of cinephilia, the historical imaginary, the contemporary European cinematic experience, YouTube, and images of terrorism and double occupancy, among other topics. Contributions from well-known artists and scholars such as Mieke Bal and Warren Buckland explore a range of media concepts and provide a mirror for the multi-faceted types of screens active in Elsaesser’s work, including the television set, video installation, the digital interface, the mobile phone display, and of course, the hallowed silver screen of our contemporary film culture.
How do journalists around the world view their roles and responsibilities in society? Based on a landmark study that has collected data from more than 27,500 journalists in 67 countries, Worlds of Journalism offers a groundbreaking analysis of the different ways journalists perceive their duties, their relationship to society and government, and the nature and meaning of their work. Challenging assumptions of a universal definition or concept of journalism, the book maps a world populated by a rich diversity of journalistic cultures. Organized around a series of key questions on topics such as editorial autonomy, journalistic ethics, trust in social institutions, and changes in the profession, it details how the practice of journalism differs across the world in a range of political, social, and economic contexts. The book covers how journalism as an institution is created and re-created by journalists and how they experience their profession in very different ways, even as they retain a commitment to some basic, widely shared professional norms and practices. It concludes with a global classification of journalistic cultures that reflects the breadth of worldviews and orientations found in disparate countries and regions. Worlds of Journalism offers an ambitious, comparative global understanding of the state of journalism in a time when it is confronting a series of economic and political threats.
For a century, economists have driven forward the cause of globalization in financial institutions, labour markets, and trade. Yet there have been consistent warning signs that a global economy and free trade might not always be advantageous. Where are the pressure points? What could be done about them? Dani Rodrik examines the back-story from its seventeenth-century origins through the milestones of the gold standard, the Bretton Woods Agreement, and the Washington Consensus, to the present day. Although economic globalization has enabled unprecedented levels of prosperity in advanced countries and has been a boon to hundreds of millions of poor workers in China and elsewhere in Asia, it is a concept that rests on shaky pillars, he contends. Its long-term sustainability is not a given. The heart of Rodrik’s argument is a fundamental 'trilemma': that we cannot simultaneously pursue democracy, national self-determination, and economic globalization. Give too much power to governments, and you have protectionism. Give markets too much freedom, and you have an unstable world economy with little social and political support from those it is supposed to help. Rodrik argues for smart globalization, not maximum globalization.
In this book, Seung-hoon Jeong introduces the cinematic interface as a contact surface that mediates between image and subject, proposing that this mediation be understood not simply as transparent and efficient but rather as asymmetrical, ambivalent, immanent, and multidirectional. Jeong enlists the new media term "interface" to bring to film theory a synthetic notion of interfaciality as underlying the multifaceted nature of both the image and subjectivity. Drawing on a range of films, Jeong examines cinematic interfaces seen on screen and the spectator’s experience of them, including: the direct appearance of a camera/filmstrip/screen, the character’s bodily contact with such a medium-interface, the object’s surface and the subject’s face as "quasi-interface," and the image itself. Each of these case studies serves as a platform for remapping and revamping major concepts in film studies such as suture, embodiment, illusion, signification, and indexicality. Looking to such theories as the ontology of the image and the phenomenology of the body, this original theorization of the cinematic interface not only offers a conceptual framework for rethinking and re-linking film and media studies, but also suggests a general theory of the interface.