GLOBAL CINEMA NETWORKS Media Matters Media Matters focuses on film, television, and media within a transnational and interdisciplinary frame: environmental media, media industries, media and democracy, information media, and global media. It features the work of schol- ars who explore ever- expanding forms of media in art, everyday, and entertain- ment practices. Under the codirection of Patrice Petro and Cristina Venegas, the series is sponsored by the Carsey- Wolf Center at the University of California, Santa Barbara. The center seeks to foster innovative and collaborative research that probes the aesthetic, political, economic, artistic, and social processes of media in the past and in our own time. Elena Gorfinkel and Tami Williams, eds., Global Cinema Networks GLO B A L CI N E M A N ET WO RKS Edited by Elena Gorfinkel and Tami Williams Rutgers University Press New Brunswick, Camden, and Newark, New Jersey, and London Library of Congress Cataloging-in-Publication Data Names: Gorfinkel, Elena editor. | Williams, Tami, 1970– editor. Title: Global cinema networks / edited by Elena Gorfinkel and Tami Williams. Description: New Brunswick, NJ : Rutgers University Press, [2018] | Series: Media matters | Includes bibliographical references and index. Identifiers: LCCN 2017055375 | ISBN 9780813592732 (hardcover) | ISBN 9780813592725 (softcover) | ISBN 9780813592749 (epub) | ISBN 9780813592763 (web pdf) Subjects: LCSH: Motion pictures— History— 21st century. | BISAC: Performing Arts / Film & Video / History & Criticism. | Art / Film & Video. | Social Science / Media Studies. Classification: LCC PN1995 .G5435 2018 | DDC 791.4309/05— dc23 LC record available at https://lccn.loc.gov/2017055375 A British Cataloging-i n- Publication record for this book is available from the British Library. This collection copyright © 2018 by Rutgers, The State University of New Jersey Individual chapters copyright © 2018 in the names of their authors All rights reserved No part of this book may be reproduced or utilized in any form or by any means, electronic or mechanical, or by any information storage and retrieval system, without written permission from the publisher. Please contact Rutgers University Press, 106 Somerset Street, New Brunswick, NJ 08901. The only exception to this prohibition is “fair use” as defined by U.S. copyright law. The paper used in this publication meets the requirements of the American National Standard for Information Sciences— Permanence of Paper for Printed Library Materials, ansi Z39.48- 1992. www .rutgersuniversitypress .org Manufactured in the United States of America CONTENTS Introduction: Global Cinemas in a Time of Networks 1 Elena Gorfinkel Part I: Cartographies, Geopolitics, Aesthetics 1 Beyond and Beneath the Map of World Cinema 23 Dudley Andrew 2 Frame 37 Adrian Martin 3 Abstraction and the Geopolitical: Lessons from Antonioni’s Trip to China 53 John David Rhodes 4 The City of Bits and Urban Rule: Media Archaeology, Urban Space, and Contemporary Chinese Documentary 77 James Tweedie Part II: Global Ideality, History, Representation 5 Toward an Archaeology of Global Rhythms: Melodie der Welt and Its Reception in France 97 Laurent Guido 6 When Cinema Was Humanism 117 Karl Schoonover 7 African Cinema: Digital Media and Expanding Frames of Representation 141 N. Frank Ukadike 8 Changing Circumstances: Global Flows of Lesbian Cinema 159 Patricia White v vi Contents Part III: Kinships, Identifications, Genres 9 Hermano and La hora cero: Violence and Transgressive Subjectivities in Venezuelan Youth Cinema 181 Luisela Alvaray 10 Between Love and the Moral Law: The Fatal Mother in Park Chan- wook’s Lady Vengeance 199 Peter Y. Paik 11 The Queer Mexican Cinema of Julián Hernández 214 Gilberto M. Blasini 12 The Gangster Film as World Cinema 228 Jian Xu Epilogue: 24 Frames: Regarding the Past and Future of Global Cinema 244 Tami Williams Acknowledgments 251 Notes on Contributors 253 Index 257 GLOBAL CINEMA NETWORKS INTRODUCTION Global Cinemas in a Time of Networks Elena Gorfinkel The last two decades have seen both a reconsideration of the geo- politics of cinema as global art form, commodity, and industry and a sense of a world unmoored and rewritten by processes of globalization and technologi- zation. Speaking at the Cannes Film Festival in 2000, Iranian filmmaker Samira Makhmalbaf optimistically characterized emergent digital technologies and the global reconfiguration they offered for film in an affirmative, liberatory light: The digital revolution will surpass that imbalance. The First World will thus lose its centrality of vision as the dominant view of the world. The globality of our situation will no longer leave any credibility for the assumptions of a centre and a periphery to the world. We are now beyond the point of thinking that we received the technique from the West and then added to it our own substance. As a film- maker, I will no longer be just an Iranian attending a film festival. I am a citizen of the world. Because from now on the global citizenship is no longer defined by the brick and mortar of houses or the printed words of the press, but by the collective force of an expansive visual vocabulary.1 Makhmalbaf’s enthusiasm for the onset of digital cinemas was grounded in a hope that more filmmakers, working in non- Western nations and outside of hegemonic, capital- intensive industries, would gain access to film technolo- gies. The potentials of democratized access could, in her estimation, rewrite the codes of cultural citizenship— eschewing material, spatial, national, and linguistic boundaries—a nd point to a truly global aesthetic unbounded by location and pervasive hierarchies between center and periphery. Although 1 2 Elena Gorfinkel the utopian possibilities Makhmalbaf envisioned have not necessarily come to pass, the rhetorical force of her assertions— and the cinematic imaginary they construct— provide a useful point of departure for considering the status of world cinema and the discourses that have attended it almost two decades on. The notion of world cinema itself seems to have emerged as a concept, dis- cursively, as Michael Chanan has suggested, in the context of both said digital transformation and a slightly older paradigm shift— namely, the fall of the Soviet Union and the Berlin Wall in 1989– 1991 and the onward march of neoliberalism after.2 To take account of these technological, aesthetic, and sociopolitical trans- formations, Global Cinema Networks brings together international film schol- ars to discuss the aesthetic forms, technological and industrial conditions, and social figurations of global cinema in the twenty- first century. It thus engages in a conversation about the shifting sites of global cinema in an era of digital repro- duction and amid new modes of filmic circulation and aesthetic convergence, taking analytic aim particularly at recent films made across Europe, Africa, Latin America, Asia, and the Middle East. Alongside this investigation of contem- porary forms, the volume likewise looks back at instances in film history that present points of contact between historical discourses of globalization and the “worldliness” of cinema and the bleeding edge of contemporary film practices. Cinema’s Place The turn-of-the-twenty-first-century anxiety regarding the waning of the analog film medium has coincided with the slow attrition of a physical location for gath- ering, a place for cinema to collectively take place. Makhmalbaf’s speech itself alludes to the reduced primacy of the spatial as a determinative feature of the digital. The medium’s fundamental dispositif in theatrical exhibition has shifted and continues to move toward varied personalized and particularized modes of delivery and nodes of ever- more- granular contact with screens.3 Perhaps the narratives of celluloid cinema’s loss and decline partake too much in a nostal- gic alliance and affinity for the material, starkly opposed to the immaterial. Yet film theory has continually reminded us of cinema’s originating virtuality and its material immateriality.4 It is hard to dispute that in the context of the digital era, the pragmatic coordinates of making films and watching films have reshaped the film medium— its formal features and modes of circulation, exhibition, and reception in this new century. The spatial and temporal coordinates of contemporary life in postindustrial modernity have continually expanded and contracted as the presence and drive of instantaneity, a ceaselessly networked now- ness, organizes life and labor across scales, distances, and time zones. The “flexibility” of digital forms of watching mov- ing images— or in less fortunate phrasing, instantly “accessing content”— makes