Some Notes on the Contradictions of Japaneseness in the Economic Miracle. Japanese films representing realities beyond Japan. In order to illustrate this political reading of the Japanese New Wave, I focus on the analysis of a paradigmatic film: The Western ‘discovery’ of Japanese cinema in the 1950s prompted scholars to articulate essentialist visions understanding its singularities as a result of its isolation from the rest of the world and its close links to local aesthetic and philosophical traditions. 2010. Transnational cinema: The film reader (Ezra & Rowden, 2006) is an anthology of papers on transnational cinema from the two earlier decades. Cinéma transnational est un concept en développement dans les études cinématographiques qui englobe une gamme de théories relatives aux effets de la mondialisation sur les aspects culturels et économiques du cinéma. Il intègre les débats et les influences de postnationalisme, postcolonialisme, le consumérisme et le cinéma troisième, parmi beaucoup d' autres sujets. La plupart de ces films sont par exemple distribués via des opérations internationales de distribution ou ont un casting composé de stars transnationales. Add tags for "Transnational cinemas.". Please select Ok if you would like to proceed with this request anyway. Japanese cinema as a "global cinema". Related Subjects: (1) Film; Confirm this request. The first major problem is that it is still a relatively new subject and therefore there is little reference material based on the subject on how to actually teach transnational cinema. Russell Meeuf and Raphael Raphael (Palgrave Macmillan, 2013), , by Homay King (Duke University Press, 2010) and, , by Stacilee Ford (Hong Kong: Hong Kong University Press, 2008) and. El Caso de Andarushia (2011). Within the discipline of film studies, the concept of transnational cinema is certainly now an established area of enquiry, at least judging by the launch of this journal and the increasing number of book titles that now bear its name: Transnational Cinema: The Film Reader (Ezra and Rowden 2006a); Transnational On the one hand, filmmakers have always been exposed to the international flow of images, stories, iconographies, and film theories. Iwamoto, Kenji. Thomas Pafundi vous propose une sélection de livres et d’articles pour approfondir le sujet. From ‘Scottish’ Play to Japanese Film: Kurosawa’s Throne of Blood. However, cinema has been international since its inception, and in recent years, the paradigm of "National Cinema" has been increasingly called into question. EN SAVOIR PLUS SUR LE TRANSNATIONALISME ? 39–52. In. New content alerts RSS. Before joining the University of Leicester, I was a lecturer and the founding programme director of Chinese Studies at the University of Hull. Reliable information about the coronavirus (COVID-19) is available from the World Health Organization (current situation, international travel). A special issue of Arts (ISSN 2076-0752). Lire aussi les deux précédents volets : “Le Choix d’Ali” d’Amor Hakkar : l’inaudible homosexualité dans l’islam, Céline Ferry à la direction de La Luciole, scène de musiques actuelles à Alençon, Les origines de l’impérialisme hollywoodien, La riposte du cinéma français contre l’impérialisme hollywoodien, “The Flying Circus” de Fatos Berisha : grand prix 2020 du festival War on Screen, Du gavage intellectuel à l’embolie pulmonaire, Ipocamp : la start-up qui protège les créations artistiques par la technologie blockchain, Casting : figurants, silhouettes et petits rôles à Paris, “Les Apparences”, de Marc Fitoussi : au-delà de ce décor, votre ticket n’est plus valable…, “Un pays qui se tient sage” : de la violence policière en démocratie, GREC 2020 : le rendez-vous théâtre de juillet à Barcelone, Actualités – Articles et critiques du mois de juin 2020, Actualités – Articles et critiques du mois de mai 2020, Actualités – Articles et critiques du mois d’avril 2020. The adaptation of theoretical frameworks and tools in Japan. Transcultural Corporeity in Taiyōzoku Youth Cinema. In. OCLC’s WebJunction has pulled together information and resources to assist library staff as they consider how to handle coronavirus issues in their communities. It incorporates the debates and influences of postnationalism, postcolonialism, consumerism and Third cinema, amongst many other topics. This article draws on Higson´s contribution and calls into question traditional theorising of Japanese film as a national cinema. On the other hand, Japanese cinema has also involved other cultures in terms of representation. Higson, Andrew. Il s’agirait plutôt d’une combinaison d’éléments nationaux et internationaux sur les plans industriels et artistiques. In contrast to occidental thinking, the cultural traditions of East Asia are based on the concept of, In the beginning was metamorphosis. L’évaluation de ce film nous apprend qu’il présente quatre aspects transnationaux sur les cinq mentionnés ci-dessus. 2016. The Misleading Discovery of Japanese National Cinema, Intertextuality and Mise en Abyme in Nobuhiro Suwa’s, From ‘Scottish’ Play to Japanese Film: Kurosawa’s. That the overlapping topics of transnational and diasporic cinema have generated an active film studies discourse is evident from the number of publications on the subject in circulation, many initially arising from myriad symposia, conference presentations, and … Chapter 3: À Travers: The Cinematography of Depth in Japan. The E-mail Address(es) you entered is(are) not in a valid format. Explications. Centeno Martín, Marcos P. 2018. Even the masters epitomising this national filmography, such as Akira Kurosawa, Kenji Mizoguchi, and even Yasujirō Ozu—according to Donald Richie, "the most Japanese of the Japanese filmmakers"—were deeply inspired by American films. Please enter recipient e-mail address(es). Intertextuality and Mise en Abyme in Nobuhiro Suwa’s H Story and A Perfect Couple. Does this allow for the language of the plays to be changed—not just translated from English to Japanese, for example, but to be updated, edited, abridged, ignored for a large part? An Ideology’s Perspective as an Alternative to That of National Cinema, Japan in Spain. 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For some scholars, this last is more expropriation than pure Shakespeare on screen and under this category we might find Kurosawa’s, The statements, opinions and data contained in the journal, © 1996-2020 MDPI (Basel, Switzerland) unless otherwise stated. You seem to have javascript disabled. The authors declare no conflict of interest. This project tackles the question of how location filming becomes an agency between the cinematic imaginary of Shanghai’s urban space and the city’s effort to reclaim its cosmopolitan legacy since the 1990s. Discourses and Definitions. The subject field is required. Book review, CINEMA AND INTER-AMERICAN RELATIONS, TRACKING TRANSNATIONAL AFFECT, by Adrian Perez Melgosa (Routledge, 2012), in CINEMA JOURNAL 54/1 (2014): 156-161. This special issue belongs to the section "New Media". Such an arbitrary stance results in neglecting the complex interactions of local, transnational and global cinematic components. Transnational productions and collaborations. Ezra, Elizabeth, and Terry Rowden. Dr. … You may have already requested this item. Authors to whom correspondence should be addressed. We use cookies on our website to ensure you get the best experience. Journal / Magazine / Newspaper, Internet Resource: ISSN: 2040-3526: OCLC Number: 900966132: Reviews. The E-mail message field is required. Copyright © 2001-2020 OCLC. Rizvi, Wajiha Raza, Transnational Cinema: The Film Reader, Elizabeth Ezra and Terry Rowden, Ny: Routledge, 2006 (Book Review) (December 4, 2014). As many papers in this volume note, even films considered as milestones of Japanese National Cinema were clearly exposed to foreign influences, such as those of Kurosawa Akira (, Cross-cultural representation is also part of cinema’s transnationality and issues, raising the following questions: What misrecognition and misrepresentation surface when Japan is represented as ‘other’ from outside (, Since his discovery in the West in the 1950s, nobody had been regarded as a “national” filmmaker as much as Kurosawa Akira, and the focus of the study on his films was mainly on his “Japaneseness.” Recent scholarship, however, has shifted towards the transnationality of his films, and Martinez’s paper (.