Download Crossover Cinema: Cross-Cultural Film from Production to by Sukhmani Khorana PDF

By Sukhmani Khorana

Cinematic items within the twenty-first century more and more emerge from, have interaction with, and are ate up in cross-cultural settings. whereas there were a few phrases used to explain cinematic kinds that don't endure allegiance to a unmarried country when it comes to conceptualization, content material, finance and/or viewership, this quantity contends that "crossover cinema" is the main apt modern description for these features of up to date cinema on which it focuses. This competition is provoked via an appreciation of the cross-cultural fact of our post-globalization twenty-first century international.

This quantity either outlines the historical past of utilization of the time period and grounds it theoretically in ways in which emphasize the personal/poetic as well as the political. all of the 3 sections of the quantity then considers crossover movie from one in every of 3 views: construction, the texts themselves, and distribution and intake.

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Extra resources for Crossover Cinema: Cross-Cultural Film from Production to Reception

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Argentine sociologist Néstor García Canclini (1982) writes, “The ‘popular’ nature of anything or phenomenon can only be established by the manner in which it is used or experienced, not by where it originates” (53). One of the Chávez government’s priorities has been to build a “popular” revolutionary culture. But how can a state whose revolutionary ambitions are hemispheric construct a palatable culture for a region composed of heterogeneous peoples? This project becomes even more formidable in that what distinguishes the Bolivarian experiment as a cultural counterhegemonic project is that it is a top-down process.

As I grew older, I started liking Indian films. I still do, and I find it’s the best escapist cinema. I like the films of that period. Films like Sujata and others by Bimal Roy [1959]. They are lovely films not because they have the songs, but they actually are about something. Even Guru Dutt’s films like Pyaasa [1957] and Sautela Bhai [1962] are wonderful films. I wonder why it has changed now. I’m not a Bollywood expert, but I think that, you’ve done economics as you said, and everything stems from that.

My Tehran for Sale 17 The engagement of Ghobadi in this project was built on a personal experience of collaborating with him on a series of projects that have extended across Australian and Iranian borders. V. . ; and I acted as his minder and interpreter during his visit to the AFF in 2006, during which we established with my local producers his involvement in My Tehran for Sale. My hope for this mode of production was to open a dialogue to cut across the internally regulated cultural and political borders of Iran and also challenge knowledge and stereotypes of Iranian people and culture operating across public stages within the international sphere.

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