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00_World_Cinema_i-xxxii 12/9/11 15:41 Page i Lúcia Nagib is Centenary Professor of World Cinemas at the University of Leeds. She is the author of several books, including Brazil on Screen: Cinema Novo, New Cinema, Utopia (I.B.Tauris) and World Cinema and the Ethics ofRealism. ChrisPerriamisProfessorofHispanicStudiesattheUniversityofManchester. Heistheauthor,amongothers,ofthebookFromBanderastoBardem:Starsand MasculinitiesinRecentSpanishCinema. Rajinder Dudrah is Senior Lecturer in Screen Studies at the University of Manchester. He is the author of the books Bollywood: Sociology Goes to the MoviesandBhangra:BirminghamandBeyond. 00_World_Cinema_i-xxxii 12/10/11 10:20 Page ii SeriesEditor:LúciaNagib,ProfessorofWorldCinemas,UniversityofLeeds Advisory Board: Laura Mulvey (UK), Donald Richie (Japan), Robert Stam (USA), IsmailXavier(Brazil) TheTaurisWorldCinemaSeriesaimstorevealandcelebratetherichnessandcomplexityoffilm artacrosstheglobe,exploringawidevarietyofcinemassetwithintheirownculturesandasthey interconnectinaglobalcontext. Thebooksintheserieswillrepresentinnovativescholarship,intunewiththemulticulturalcharacter of contemporary audiences. They will also draw upon an international authorship, comprising academics,filmwritersandjournalists. PublishedandforthcomingintheWorldCinemaseries: BrazilonScreen:CinemaNovo,NewCinema,Utopia ByLúciaNagib ContemporaryNewZealandCinema EditedbyIanConrichandStuartMurray EastAsianCinemas:ExploringTransnationalConnectionsonFilm EditedbyLeonHuntandLeungWing-Fai LebaneseCinema:ImaginingtheCivilWarandBeyond ByLinaKhatib NewArgentineCinema ByJensAndermann NewDirectionsinGermanCinema EditedbyPaulCookeandChrisHomewood NewTurkishCinema:Belonging,IdentityandMemory ByAsumanSuner OnCinema GlauberRocha EditedbyIsmailXavier PerformingAuthorship:Self-inscriptionandCorporealityintheCinema ByCeciliaSayad TheorizingWorldCinema EditedbyLúciaNagib,ChrisPerriamandRajinderDudrah ViewingFilm ByDonaldRichie Queries,ideasandsubmissionsto: SeriesEditor,ProfessorLúciaNagib–[email protected] CinemaEditoratI.B.Tauris,PhilippaBrewster–[email protected] Theorizing World Cinema Edited by Lúcia Nagib Chris Perriam and Rajinder Dudrah 00_World_Cinema_i-xxxii 12/9/11 15:42 Page iv Publishedin2012byI.B.Tauris&Co.Ltd 6SalemRoad,LondonW24BU 175FifthAvenue,NewYorkNY10010 www.ibtauris.com DistributedintheUnitedStatesandCanadaExclusivelybyPalgraveMacmillan 175FifthAvenue,NewYorkNY10010 Selectionandeditorialmattercopyright©2012,LúciaNagib,ChrisPerriam,RajinderDudrah Individualchapterscopyright©2012,JohnCaughie,FeliciaChan,RajinderDudrah,Song HweeLim,TiagodeLuca,LauraMulvey,LúciaNagib,GeoffreyNowell-Smith,ChrisPerriam, AshishRajadhyaksha,PaulJulianSmith,IsmailXavier TherightofLúciaNagib,ChrisPerriamandRajinderDudrahtobeidentifiedastheeditors ofthisworkhasbeenassertedbythemsinaccordancewiththeCopyright,DesignsandPatent Act1988. Allrightsreserved.Exceptforbriefquotationsinareview,thisbook,oranypartthereof,may notbereproduced,storedinorintroducedintoaretrievalsystem,ortransmitted,inanyform orbyanymeans,electronic,mechanical,photocopying,recordingorotherwise,withoutthe priorwrittenpermissionofthepublisher. ISBN:9781848854925(HB) 9781848854932(PB) AfullCIPrecordforthisbookisavailablefromtheBritishLibrary AfullCIPrecordisavailablefromtheLibraryofCongress LibraryofCongressCatalogCardNumber:available Designedandtypesetby4wordLtd,Bristol,UK PrintedandboundinGreatBritainbyTJInternationalLtd,Padstow,Cornwall,UK 00_World_Cinema_i-xxxii 14/6/11 17:48 Page v Contents ListofIllustrations vii NotesonContributors xi Acknowledgements xv Introduction xvii Part I The National Project 1 ChapterOne MorvernCallar,ArtCinemaandthe‘Monstrous 3 Archive’ JohnCaughie ChapterTwo OnFilmandCathedrals:MonumentalArt,National 21 AllegoriesandCulturalWarfare IsmailXavier ChapterThree ATheoryofCinemathatCanAccountforIndian 45 Cinema AshishRajadhyaksha Part II The Transnational Project 61 ChapterFour TransnationalCinemas:TheCasesofMexico, 63 ArgentinaandBrazil PaulJulianSmith ChapterFive EduardoNoriega’sTransnationalProjections 77 ChrisPerriam ChapterSix FromworldcinematoWorldCinema:WongKar-wai’s 93 AshesofTimeandAshesofTimeRedux FeliciaChan 00_World_Cinema_i-xxxii 12/9/11 15:44 Page vi vi THEORIZING WORLD CINEMA Part III The Diasporic Project 111 ChapterSeven BeyondWorldCinema?TheDialecticsofBlack 113 BritishDiasporicCinema RajinderDudrah ChapterEight SpeakinginTongues:AngLee,AccentedCinema, 129 Hollywood SongHweeLim Part IV The Realist Project 145 ChapterNine FromRealismtoNeo-Realism 147 GeoffreyNowell-Smith ChapterTen Oshima,CorporealRealismandtheEroticized 161 Apparatus LúciaNagib ChapterEleven RealismoftheSenses:ATendencyinContemporary 183 WorldCinema TiagodeLuca ChapterTwelve Rear-ProjectionandtheParadoxesofHollywood 207 Realism LauraMulvey Index 221 00_World_Cinema_i-xxxii 14/6/11 17:48 Page vii Illustrations Chapter1 Figure1 Figureinalandscape(MorvernCallar) Figure2 Theinsectlifeofnightmares(MorvernCallar) Figure3 Thesupermarket(MorvernCallar) Figure4 Thecemetery(1)(MorvernCallar) Figure5 Thecemetery(2)(MorvernCallar) Figure6 Thecemetery(3)(MorvernCallar) Figure7 Thebucolicimage(MorvernCallar) Figure8 Insectlife(MorvernCallar) Figure9 Oban(MorvernCallar) Figure10 LeavingOban(MorvernCallar) Figure11 Clubbing(1)(MorvernCallar) Figure12 Clubbing(2)(MorvernCallar) Chapter2 Figure1 TheweddingbanquetinGoodMorning,Babylon Figure2 MolochinCabiria Figure3 MolochinMetropolis Chapter5 Figure1 NoriegawithAnnaMouglalisinNovo Figure2 ScreengrabofNoriega’sofficialwebsitepage,December2006 Figure3 TheDVDcoverofLesmainsvides(dir.MarcRecha) Chapter6 Figure1 PosterofAshesofTime(1994) Figure2 PosterofAshesofTimeRedux(2008) 00_World_Cinema_i-xxxii 12/9/11 15:45 Page viii viii THEORIZING WORLD CINEMA Chapter7 Figure1 AdvertforthescreeningofColinPrescod’sfilm,asdisplayed ontheDrum’swebsite Figure2 HashidaandOllyareunitedamidstthecolourfulbackdropof Blackpoolilluminations Figure3 DVDcoverofBabymother,withitsthreecentralfemale friendsinraggaanddancehalldress Chapter8 Figure1 Ennis(HeathLedger)arrivesatWyominginBrokeback Mountain(©AlbertaFilmEntertainment/Focus Features/GoodMachine/ParamountPictures/RiverRoad Entertainment) Figure2 Ennisarrivesathisdestination(©AlbertaFilm Entertainment/FocusFeatures/GoodMachine/Paramount Pictures/RiverRoadEntertainment) Figure3 TheprotagonistinUzakbeginshisjourney(©NBCAjans/ NBCFilm) Figure4 TheprotagonistinUzakflagsdownacar(©NBCAjans/ NBCFilm) Chapter10 Figure1 Theazumagataallowsthepictureviewertoperformsex: abstractthinkingfindscontinuityinrealintercourse(Anon, Manusingaportraitandan‘Edoshape’,monochrome woodblockillustrationfromanunknownshungabook, c.1760) Figure2 ReadingdisruptssexinBreathless Figures3–4 AsinHarunobu’sshunga,Sada’sartisticperformancehasa physicalending(woodblockprintbyHarunobuSuzuki, c.1725–70) Figure5 Acalligraphylessonleadstosex(TheSpellofAmorousLove, woodblockprintbyHarunobuSuzuki,c.1766–70) Figure6 Twoapparentlyindependentactivitiesare,infact, inextricable(TheSpellofAmorousLove,woodblockprintby HarunobuSuzuki,c.1766–70) Figure7 Thevoyeur’sactivitymirrorsandsuggeststhatoftheviewer (ElegantHornyManeemon,woodblockprintbyHarunobu Suzuki,c.1768–70) Figures8–12 Reversingandmergingactiveandpassivevoyeurism:Sada dubsthegeisha’secstasy 00_World_Cinema_i-xxxii 14/6/11 17:48 Page ix ix ILLUSTRATIONS Chapter11 Figure1 Prolongedstare:Tarr’sSátántangó Figure2 Tsai’sGoodbyeDragonInn Figure3 VanSant’sLastDays Figure4 Majesticlandscapes,minutehumans:VanSant’sGerry Figure5 Alonso’sLiverpool Figure6 Serra’sBirdsong Figure7 CitiesinFocus:Guerín’sIntheCityofSylvia Figure8 Jia’sStillLife Figures9–11 FleshlybodiesinReygadas’BattleinHeaven Chapter12 Figure1 BackStory:MrHansarddemonstratestherear-projection process Figure2 Rear-projectionprocess:HerMan(TayGarnett,1931) Figure3 BackStory:MrHansard:‘BusinessissobadIsometimescall myselfonthephonetomakesureit’sworking’ Figure4 BackStory:BillyHansard:‘They’llmakeanicedivingreef forthefishes’

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This groundbreaking and innovative book is about the place of World Cinema in the cultural imaginary. It also repositions World Cinema in a wider discursive space than is usually the case and treats it as an object of theoretical enquiry, rather than as a commercial label. The editors and distinguis
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Theorizing World Cinema PDF

262 Pages·2011·6.88 MB·English
by  Lucia Nagib
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00_World_Cinema_i-xxxii 12/9/11 15:41 Page i Lúcia Nagib is Centenary Professor of World Cinemas at the University of Leeds. She is the author of several books, including Brazil on Screen: Cinema Novo, New Cinema, Utopia (I.B.Tauris) and World Cinema and the Ethics ofRealism. ChrisPerriamisProfessorofHispanicStudiesattheUniversityofManchester. Heistheauthor,amongothers,ofthebookFromBanderastoBardem:Starsand MasculinitiesinRecentSpanishCinema. Rajinder Dudrah is Senior Lecturer in Screen Studies at the University of Manchester. He is the author of the books Bollywood: Sociology Goes to the MoviesandBhangra:BirminghamandBeyond. 00_World_Cinema_i-xxxii 12/10/11 10:20 Page ii SeriesEditor:LúciaNagib,ProfessorofWorldCinemas,UniversityofLeeds Advisory Board: Laura Mulvey (UK), Donald Richie (Japan), Robert Stam (USA), IsmailXavier(Brazil) TheTaurisWorldCinemaSeriesaimstorevealandcelebratetherichnessandcomplexityoffilm artacrosstheglobe,exploringawidevarietyofcinemassetwithintheirownculturesandasthey interconnectinaglobalcontext. Thebooksintheserieswillrepresentinnovativescholarship,intunewiththemulticulturalcharacter of contemporary audiences. They will also draw upon an international authorship, comprising academics,filmwritersandjournalists. PublishedandforthcomingintheWorldCinemaseries: BrazilonScreen:CinemaNovo,NewCinema,Utopia ByLúciaNagib ContemporaryNewZealandCinema EditedbyIanConrichandStuartMurray EastAsianCinemas:ExploringTransnationalConnectionsonFilm EditedbyLeonHuntandLeungWing-Fai LebaneseCinema:ImaginingtheCivilWarandBeyond ByLinaKhatib NewArgentineCinema ByJensAndermann NewDirectionsinGermanCinema EditedbyPaulCookeandChrisHomewood NewTurkishCinema:Belonging,IdentityandMemory ByAsumanSuner OnCinema GlauberRocha EditedbyIsmailXavier PerformingAuthorship:Self-inscriptionandCorporealityintheCinema ByCeciliaSayad TheorizingWorldCinema EditedbyLúciaNagib,ChrisPerriamandRajinderDudrah ViewingFilm ByDonaldRichie Queries,ideasandsubmissionsto: SeriesEditor,ProfessorLúciaNagib–[email protected] CinemaEditoratI.B.Tauris,PhilippaBrewster–[email protected] Theorizing World Cinema Edited by Lúcia Nagib Chris Perriam and Rajinder Dudrah 00_World_Cinema_i-xxxii 12/9/11 15:42 Page iv Publishedin2012byI.B.Tauris&Co.Ltd 6SalemRoad,LondonW24BU 175FifthAvenue,NewYorkNY10010 www.ibtauris.com DistributedintheUnitedStatesandCanadaExclusivelybyPalgraveMacmillan 175FifthAvenue,NewYorkNY10010 Selectionandeditorialmattercopyright©2012,LúciaNagib,ChrisPerriam,RajinderDudrah Individualchapterscopyright©2012,JohnCaughie,FeliciaChan,RajinderDudrah,Song HweeLim,TiagodeLuca,LauraMulvey,LúciaNagib,GeoffreyNowell-Smith,ChrisPerriam, AshishRajadhyaksha,PaulJulianSmith,IsmailXavier TherightofLúciaNagib,ChrisPerriamandRajinderDudrahtobeidentifiedastheeditors ofthisworkhasbeenassertedbythemsinaccordancewiththeCopyright,DesignsandPatent Act1988. Allrightsreserved.Exceptforbriefquotationsinareview,thisbook,oranypartthereof,may notbereproduced,storedinorintroducedintoaretrievalsystem,ortransmitted,inanyform orbyanymeans,electronic,mechanical,photocopying,recordingorotherwise,withoutthe priorwrittenpermissionofthepublisher. ISBN:9781848854925(HB) 9781848854932(PB) AfullCIPrecordforthisbookisavailablefromtheBritishLibrary AfullCIPrecordisavailablefromtheLibraryofCongress LibraryofCongressCatalogCardNumber:available Designedandtypesetby4wordLtd,Bristol,UK PrintedandboundinGreatBritainbyTJInternationalLtd,Padstow,Cornwall,UK 00_World_Cinema_i-xxxii 14/6/11 17:48 Page v Contents ListofIllustrations vii NotesonContributors xi Acknowledgements xv Introduction xvii Part I The National Project 1 ChapterOne MorvernCallar,ArtCinemaandthe‘Monstrous 3 Archive’ JohnCaughie ChapterTwo OnFilmandCathedrals:MonumentalArt,National 21 AllegoriesandCulturalWarfare IsmailXavier ChapterThree ATheoryofCinemathatCanAccountforIndian 45 Cinema AshishRajadhyaksha Part II The Transnational Project 61 ChapterFour TransnationalCinemas:TheCasesofMexico, 63 ArgentinaandBrazil PaulJulianSmith ChapterFive EduardoNoriega’sTransnationalProjections 77 ChrisPerriam ChapterSix FromworldcinematoWorldCinema:WongKar-wai’s 93 AshesofTimeandAshesofTimeRedux FeliciaChan 00_World_Cinema_i-xxxii 12/9/11 15:44 Page vi vi THEORIZING WORLD CINEMA Part III The Diasporic Project 111 ChapterSeven BeyondWorldCinema?TheDialecticsofBlack 113 BritishDiasporicCinema RajinderDudrah ChapterEight SpeakinginTongues:AngLee,AccentedCinema, 129 Hollywood SongHweeLim Part IV The Realist Project 145 ChapterNine FromRealismtoNeo-Realism 147 GeoffreyNowell-Smith ChapterTen Oshima,CorporealRealismandtheEroticized 161 Apparatus LúciaNagib ChapterEleven RealismoftheSenses:ATendencyinContemporary 183 WorldCinema TiagodeLuca ChapterTwelve Rear-ProjectionandtheParadoxesofHollywood 207 Realism LauraMulvey Index 221 00_World_Cinema_i-xxxii 14/6/11 17:48 Page vii Illustrations Chapter1 Figure1 Figureinalandscape(MorvernCallar) Figure2 Theinsectlifeofnightmares(MorvernCallar) Figure3 Thesupermarket(MorvernCallar) Figure4 Thecemetery(1)(MorvernCallar) Figure5 Thecemetery(2)(MorvernCallar) Figure6 Thecemetery(3)(MorvernCallar) Figure7 Thebucolicimage(MorvernCallar) Figure8 Insectlife(MorvernCallar) Figure9 Oban(MorvernCallar) Figure10 LeavingOban(MorvernCallar) Figure11 Clubbing(1)(MorvernCallar) Figure12 Clubbing(2)(MorvernCallar) Chapter2 Figure1 TheweddingbanquetinGoodMorning,Babylon Figure2 MolochinCabiria Figure3 MolochinMetropolis Chapter5 Figure1 NoriegawithAnnaMouglalisinNovo Figure2 ScreengrabofNoriega’sofficialwebsitepage,December2006 Figure3 TheDVDcoverofLesmainsvides(dir.MarcRecha) Chapter6 Figure1 PosterofAshesofTime(1994) Figure2 PosterofAshesofTimeRedux(2008) 00_World_Cinema_i-xxxii 12/9/11 15:45 Page viii viii THEORIZING WORLD CINEMA Chapter7 Figure1 AdvertforthescreeningofColinPrescod’sfilm,asdisplayed ontheDrum’swebsite Figure2 HashidaandOllyareunitedamidstthecolourfulbackdropof Blackpoolilluminations Figure3 DVDcoverofBabymother,withitsthreecentralfemale friendsinraggaanddancehalldress Chapter8 Figure1 Ennis(HeathLedger)arrivesatWyominginBrokeback Mountain(©AlbertaFilmEntertainment/Focus Features/GoodMachine/ParamountPictures/RiverRoad Entertainment) Figure2 Ennisarrivesathisdestination(©AlbertaFilm Entertainment/FocusFeatures/GoodMachine/Paramount Pictures/RiverRoadEntertainment) Figure3 TheprotagonistinUzakbeginshisjourney(©NBCAjans/ NBCFilm) Figure4 TheprotagonistinUzakflagsdownacar(©NBCAjans/ NBCFilm) Chapter10 Figure1 Theazumagataallowsthepictureviewertoperformsex: abstractthinkingfindscontinuityinrealintercourse(Anon, Manusingaportraitandan‘Edoshape’,monochrome woodblockillustrationfromanunknownshungabook, c.1760) Figure2 ReadingdisruptssexinBreathless Figures3–4 AsinHarunobu’sshunga,Sada’sartisticperformancehasa physicalending(woodblockprintbyHarunobuSuzuki, c.1725–70) Figure5 Acalligraphylessonleadstosex(TheSpellofAmorousLove, woodblockprintbyHarunobuSuzuki,c.1766–70) Figure6 Twoapparentlyindependentactivitiesare,infact, inextricable(TheSpellofAmorousLove,woodblockprintby HarunobuSuzuki,c.1766–70) Figure7 Thevoyeur’sactivitymirrorsandsuggeststhatoftheviewer (ElegantHornyManeemon,woodblockprintbyHarunobu Suzuki,c.1768–70) Figures8–12 Reversingandmergingactiveandpassivevoyeurism:Sada dubsthegeisha’secstasy 00_World_Cinema_i-xxxii 14/6/11 17:48 Page ix ix ILLUSTRATIONS Chapter11 Figure1 Prolongedstare:Tarr’sSátántangó Figure2 Tsai’sGoodbyeDragonInn Figure3 VanSant’sLastDays Figure4 Majesticlandscapes,minutehumans:VanSant’sGerry Figure5 Alonso’sLiverpool Figure6 Serra’sBirdsong Figure7 CitiesinFocus:Guerín’sIntheCityofSylvia Figure8 Jia’sStillLife Figures9–11 FleshlybodiesinReygadas’BattleinHeaven Chapter12 Figure1 BackStory:MrHansarddemonstratestherear-projection process Figure2 Rear-projectionprocess:HerMan(TayGarnett,1931) Figure3 BackStory:MrHansard:‘BusinessissobadIsometimescall myselfonthephonetomakesureit’sworking’ Figure4 BackStory:BillyHansard:‘They’llmakeanicedivingreef forthefishes’

Description:
This groundbreaking and innovative book is about the place of World Cinema in the cultural imaginary. It also repositions World Cinema in a wider discursive space than is usually the case and treats it as an object of theoretical enquiry, rather than as a commercial label. The editors and distinguis
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