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Caribbean Monsters: Gothic Migrants in the “Hot-Lands”
Eljaiek-Rodríguez analyzes how the figures of the vampire and the zombie (the undead) are used in horror cinema of the Caribbean. Considering that...
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Exhibition
Exhibition completes the production process and brings the film to an audience. Theater owners have long been in the business of directly dealing...
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Hong Kong Puzzle Films: The Persistence of Tradition
This chapter examines the fate of traditional modes of practice, as well as of local storytelling norms, in contemporary Hong Kong cinema. It...
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Lonely Souls in Sólo Dios Sabe by Carlos Bolado: Pastoralism and Syncretic Spirituality in Times of Crisis
This chapter analyzes the Mexican-Brazilian coproduction Sólo Dios sabe (Carlos Bolado, 2006). By mixing allusions to Garcilaso de la Vega’s...
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Galician Animation in the Global Age: Imagining the Nation from the Glocal Forest
The study of Galician audiovisual production in a global context underlines the need to open Galician Studies to interdisciplinary media studies in a...
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A Documentary Aesthetic of Helplessness
The chapter analyses a second aesthetic of this crime film trend: a documentary look that mobilizes introspection to voice helplessness or the...
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The Context of the Introspective Realist Crime Film
The contexts in which this film trend has emerged include: (1) a generational one, filmmakers who want to recuperate the social mind of some 1970s...
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Situating Hong Kong and Bollywood Cinemas in the Global
This introductory chapter explains how Hong Kong and Bollywood film industries have repositioned themselves as new players in the pantheon of global...
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Cultural Specificity and Globalization
This chapter situates the subjects of cultural specificity and Japanese cinema in the context of late twentieth-/early twenty-first-century...
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Introduction: Reconfiguring Precarious Landscapes: The Road Movie in Latin America
Forty minutes into Walter Salles’s Diarios de motocicleta (2004), the bikers Ernesto Guevara (Gael García Bernal) and Alberto Granados (Rodrigo de la...
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Introduction: The Poetics of Chinese Cinema
What is the value and significance of the poetics approach to contemporary film theory in general, and to the study of Chinese cinema in particular?...
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1911: Cinematic Contradictions of Greater China
This study raises the issue of cinematic nationalism through a closer look at the historical drama 1911 (2011), and observes that many Hong Kong and...
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(Cult)ural Hybridity
This chapter discusses the films Sukiyaki uesutan jango/Sukiyaki Western Django (Takashi Miike, 2007) and Tetsuo 3/Tetsuo: The Bullet Man (Shinya...
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Nordic Noir — Location, Identity and Emotion
How can we define the Nordic element in ‘Nordic noir’? ‘Noir’ is an established international term, which refers to a particular film genre and...
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Remaking Ozu: Hou Hsiao-hsien’s Café Lumière
Café Lumiere pairs the Ozu/Hou doublet with the Lumiere brothers, the legendary founding fathers of cinema. Café Lumiere, coffee shop under light,...
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Yugoslavia’s Wars, Cinema, and Screen Trauma
In 1965, a notable Yugoslav film director Puriša Ðorđević made Devojka (The Girl), a layered and intricately challenging cinematic poem about the...
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National and Transnational Film Studies : The Argentine and Brazilian Case
The period in question begins in the mid-1990s when, after almost collapsing during the debt crisis of the previous two decades, Argentine and...
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Database Production: Planners and Players in a Japanese Mobile Game Studio
This chapter will look at collaborative global/local production among mobile game creators in Japan, primarily through examining the international...
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Policies, Collaboration, and Partnerships for Climate Protection in China
Policymaking in the field of climate protection has taken off in China. The aggravation of the pollution problems in many cities, increased coverage...
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Reverse Migration in Brazilian Transnational Cinema: Um passaporte húngaro and Rapsódia Armênia
One of the remarkable effects of the current transnationalization of cinema is the success of the documentary (Ezra and Rowden 2006: 10). This...