Traditions in World Cinema PDF
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TRADITIONS IN WORLD CINEMA TRADITIONS IN WORLD CINEMA General Editors Linda Badley (Middle Tennessee State University) R. Barton Palmer (Clemson University) Founding Editor Steven Jay Schneider (New York University) Titles in the series include: Traditions in World Cinema by Linda Badley, R. Barton Palmer and Steven Jay Schneider (eds) 0 7486 1862 7 (hardback) 0 7486 1863 5 (paperback) Japanese Horror Cinema by Jay McRoy (ed.) 0 7486 1994 1 (hardback) 0 7486 1995 X (paperback) New Punk Cinema by Nicholas Rombes (ed.) 0 7486 2034 6 (hardback) 0 7486 2035 4 (paperback) Forthcoming titles include: African Filmmaking: North and South of the Sahara by Roy Armes 0 7486 2123 7 (hardback) 0 7486 2124 5 (paperback) American Commercial-Independent Cinema by Linda Badley and R. Barton Palmer 0 7486 2459 7 (hardback) 0 7486 2460 0 (paperback) Italian Neorealist Cinema by Peter Bondanella 0 7486 1978 X (hardback) 0 7486 1979 8 (paperback) The Italian Sword-and-Sandal Film by Frank Burke 0 7486 1983 6 (hardback) 0 7486 1984 4 (paperback) Czech and Slovak Cinema: Theme and Tradition by Peter Hames 0 7486 2081 8 (hardback) 0 7486 2082 6 (paperback) TRADITIONS IN WORLD CINEMA Edited by Linda Badley, R. Barton Palmer and Steven Jay Schneider EDINBURGH UNIVERSITY PRESS © in this edition Edinburgh University Press, 2006 © in the individual contributions is retained by the authors Edinburgh University Press Ltd 22 George Square, Edinburgh Typeset in 10/12.5 Adobe Sabon by Servis Filmsetting Ltd, Manchester, and printed and bound in Great Britain by MPG Books Ltd, Bodmin, Cornwall A CIP record for this book is available from the British Library ISBN 0 7486 1862 7 (hardback) ISBN 0 7486 1863 5 (paperback) The right of the contributors to be identified as authors of this work has been asserted in accordance with the Copyright, Designs and Patents Act 1988. CONTENTS Acknowledgements ix Preface xi Toby Miller Notes on contributors xvii Introduction 1 Linda Badley and R. Barton Palmer PART I EUROPEAN TRADITIONS 1 German Expressionism 15 J.P. Telotte 2 Italian Neorealism 29 Peter Bondanella 3 The French New Wave 41 Richard Neupert 4 The British New Wave 52 R. Barton Palmer PART II CENTRAL, EASTERN AND NORTHERN EUROPEAN TRADITIONS 5 The Czechoslovak New Wave 67 Peter Hames TRADITIONS INWORLD CINEMA 6 Danish Dogma 80 Linda Badley 7 Post-Communist Cinema 95 Christina Stojanova PART III SOUTH AMERICAN TRADITIONS 8 Post-Cinema NovoBrazilian Cinema 117 Randal Johnson 9 New Argentine Cinema 130 Myrto Konstantarakos PART IV AFRICAN AND MIDDLE EASTERN TRADITIONS 10 Early Cinematic Traditions in Africa 143 Roy Armes 11 Israeli Persecution Films 160 Nitzan Ben-Shaul 12 New Iranian Cinema 176 Negar Mottahedeh PART V ASIAN TRADITIONS 13 Popular Hindi Cinema and the Film Song 193 Corey Creekmur 14 Chinese Melodrama 203 Stephen Teo 15 Japanese Horror Cinema 214 Jay McRoy PART VI AMERICAN AND TRANSNATIONAL TRADITIONS 16 The ‘New’ American Cinema 231 Robert Kolker 17 The Global Art of Found Footage Cinema 241 Adrian Danks Index 254 vi Traditions in World Cinema is a series of books devoted to the analysis of cur- rently popular and previously underexamined or undervalued film movements from around the globe. The volumes in this series have three primary aims: (1) to offer undergraduate- and graduate-level film students accessible and com- prehensive introductions to diverse and fascinating traditions in world cinema; (2) to represent these both textually and contextually through attention to industrial, cultural and socio-historical conditions of production and reception; and (3) to open up for academic study and general interest a number of previ- ously underappreciated films. The flagship volume for the series offers chapters by noted scholars on tra- ditions of acknowledged importance (the French New Wave, German expres- sionism), recent and emergent traditions (New Iranian, post-Cinema Novo), and those whose rightful claim to recognition has yet to be established (the Israeli persecution film, global found footage cinema). Other volumes concen- trate on individual national, regional or global cinema traditions. As the intro- ductory chapter to each volume makes clear, the films under discussion form a coherent group on the basis of substantive and relatively transparent, if not always obvious, commonalities. These commonalities may be formal, stylistic or thematic, and the groupings may, although they need not, be popularly iden- tified as genres, cycles or movements (Japanese horror, Chinese wenyi pian melodrama, Dogma). Indeed, in cases in which a group of films is not already commonly identified as a tradition, one purpose of the volume may be to estab- lish its claim to importance and make it visible. Each volume in the series includes: • an introduction that clarifies the rationale for the grouping of films under examination; • concise history of the regional, national or transnational cinema in question; • summary of previous published work on the tradition; • contextual analysis of industrial, cultural and socio-historical condi- tions of production and reception; • textual analysis of specific and notable films, with clear and judicious application of relevant film theoretical approaches. For Bill and Carla ACKNOWLEDGEMENTS Steven Jay Schneider conceived and founded the Traditions in World Cinema series, and his knowledge of international film genres and passion for the cinema are reflected in this volume’s scope and shape. Without his groundwork and energetic leadership in the project’s initial stages, neither the book nor the series would exist. We regret that he has had to withdraw from the final stages of the project, but we hope he finds that the resulting volume reflects in some way the vision he had for it. A huge debt of gratitude is owed to Sarah Edwards at Edinburgh University Press, whose encouragement and support have been unfailing. For her assis- tance, efficiency and especially for her patience, we are profoundly grateful. Working on a collaborative book of this kind is always both an adventure and an education. The experience of editing this volume has been especially grati- fying because of the prodigious range, expertise and talents of the contributors. For the privilege of learning from and working with them, and for their gen- erosity and patience, we extend our heartfelt thanks. We are indebted to Middle Tennessee State University for providing Linda Badley with a Summer Salary Grant and to the Calhoun Lemon Endowment at Clemson University for supporting Barton Palmer’s released time from teach- ing and research expenses. Special thanks are owed to Karine Gavand, our tire- less graduate research assistant at Middle Tennessee State University who, during the project’s final stages, read and responded to drafts and checked factsand titles. Her proficiency in several languages and first-hand knowledge of international cultures have proven to be especially valuable assets. She ix
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