Previously to this, only two books i.e. The cinema can remain a boon for us as long as those who view it keep a balance between what they believe in and what the cinema may be thrusting down their throats. Fill in your details below or click an icon to log in: You are commenting using your WordPress.com account. Defining non-Western cinemas as “sites of discursive contestations” and “representational spaces in which changing social and cultural meanings are generated and fought over”, Dissanayake (1998:5) points to the fact that world cinema is not the expression of some eternal essence; on the contrary, its products are constantly changing and renewing themselves. (film, uncountable) The film and movie industry. This draws attention to the power mechanisms affecting world cinema, the political implications of filmmaking in Third World countries as well as to their constant struggle to “decolonize thought” (Barlet 1996:34). (1996) African Cinemas. For example, some contemporary critics refer to Iran as the world’s most important national cinema, with an artistic significance that invites comparison to Italian neorealism (Tapper 2002). With its distinct style, themes, cultural references and idea of nationhood, post-revolutionary Iranian cinema has been celebrated in many international festivals. by gender, sexuality, economic power) and it also risks overlooking other modes of film practices (e.g. This should come from a reliable source, otherwise there may be glaring omissions and arbitrary additions. Ann  Arbor, MI: UMI research Press, Grant, C. & A. Kuhn (eds) (2006) Screening World Cinema: A Screen Reader, Routledge, London and New York, Guneratne, A. Neither of these currently appear in the "World cinema successful at the American box office" section... Gram123 (talk) 10:46, 19 February 2008 (UTC). Catalan, Quebeqois, Welsh cinemas (Crofts 1998:390). The American film industry played such a dominant role that, it can be argued, cinemas in other countries consisted of attempts to compete or differentiate themselves from the American model. Concerning this, the authors agree that, given the economic and cultural dominance of Hollywood cinema from the end of World War I onwards, the tendency to oppose world cinema against Hollywood or US cinema is understandable to an extent. Films are mainly produced in Mumbai. Similarly to other broad categories such as “world music” and “world literature”, world cinema is a label created in the West to refer to non-Western cultural products and practices. Moreover, the label “world” can sometimes be used in an almost derogatory way. In this respect, Dennison & Lim remark that one of the most obvious problems inherent within the concept of world cinema is the assumption that the “world” actually signifies “the world as viewed from the West”. This could colour the mind of the young boys and girls who watch these movies with great interest. Regarding perspective, a crucial question needs to be asked: “from whence do we view, visualise and theorise world cinema?” Considering that one’s perspective may also limit one’s view, there is a need to adopt a different or even multiple perspectives. Referring to “world music”, David Byrne argues that the concept is often used as “a way of dismissing artists […] as irrelevant to one’s own life”, as a way of grouping works into “us” and “them” (Byrne 1999 quoted in Dennison & Lim 2006:3). The list should only show the top performing foreign-language films in those box offices, and be ranked in order of takings. Greek filmmaker Konstantinos Antonopoulos about his remarkable Oscar-shortlisted film Postcards from the End of the World – SIFF 2020, Superb Performances & Other Splendid Surprises from SIFF 2020 – Syros International Film Festival, Greece, The Most Memorable Shorts from LOCARNO 2020 – Pardi di Domani, My Top 3 Digital Health Startups from SLUSH 2018, The Very Best Films of La Biennale di Venezia 2018.