At Home in the World: Co-productions and Indian Alternative Cinema

2021 ◽  
pp. 097492762098394
Author(s):  
Harmanpreet Kaur
Keyword(s):  
Domestic Market ◽  
Film Festivals ◽  
Art Cinema ◽  
Independent Films ◽  
Aesthetic Form ◽  
The World ◽  
International Distribution ◽  
The Usa ◽  
Sales Agents ◽  
At Home

Several Indian filmmakers and production houses making ‘alternative’ and ‘independent films’ have sought to develop co-production deals with European film funds, international film festivals, film markets and sales agents. Their bid is to build a profile with art house and ‘specialty cinema’ audiences in Europe, Asia and the USA, while also seeking to impact the Indian domestic market. This article analyses the assembling of such productions, and their aesthetic form, including a reflection on charges that their adaptation to international distribution requires a conformity to what is acceptable and intelligible to ‘international audiences’. It also explores how alternative films oriented to international art cinema affect the understanding of what constitutes ‘national cinemas’. The article explores these themes through two films, Qissa (2013) and The Lunchbox (2012).

Hegemonic Disarray—American Internationalisms and World Disorder

2018 ◽  
Author(s):  
Daniel Deudney
Keyword(s):  
Foreign Policy ◽  
Cold War ◽  
Middle East ◽  
International Order ◽  
The World ◽  
The Usa ◽  
The Cold War ◽  
At Home

The end of the Cold War left the USA as uncontested hegemon and shaper of the globalization and international order. Yet the international order has been unintentionally but repeatedly shaken by American interventionism and affronts to both allies and rivals. This is particularly the case in the Middle East as the wars in Afghanistan and Iraq as well as the nuclear negotiations with Iran show. Therefore, the once unquestioned authority and power of the USA have been challenged at home as well as abroad. By bringing disorder rather than order to the world, US behavior in these conflicts has also caused domestic exhaustion and division. This, in turn, has led to a more restrained and as of late isolationist foreign policy from the USA, leaving the role as shaper of the international order increasingly to others.

scholarly journals Peili-elokuvan vastaanotto Suomessa

2019 ◽  
Vol 32 (1) ◽  
pp. 27-45
Author(s):  
Mia Öhman
Keyword(s):  
Soviet Union ◽  
Film Festivals ◽  
Art Cinema ◽  
Feature Film ◽  
Soviet Film ◽  
Film Distribution ◽  
Soviet Art ◽  
The Soviet Union ◽  
International Distribution ◽  
Andrei Tarkovsky

Andrei Tarkovski (1932–1986) oli Neuvostoliiton tunnetuimpia elokuvaohjaajia ja yksi maailman arvostetuimmista taiteilijoista jo elinaikanaan. Hänen elokuvansa saivat kotimaassa ristiriitaisen vastaanoton, mutta palkittiin monilla kansainvälisillä festivaaleilla ja päästettiin länsimaiseen levitykseen. Vuonna 1974 valmistui Tarkovskin kolmas pitkä elokuva, vahvasti omaelämäkerrallinen Peili (Zerkalo).Peili hämmensi aikalaisyleisöä. Neuvostoliitossa suuri osa elokuvayleisöstä näki etupäässä kotimaan massatuotantoa. Eurooppalaisesta elokuvasta kyllä kirjoitettiin, mutta esimerkiksi Fellinin elokuvat olivat todellisuudessa vain harvojen nähtävissä. Peili oli syntynyt Neuvostoliitossa, puolueen valvoman Goskinon huomassa. Sen olisi pitänyt edustaa neuvostoelokuvalle määriteltyjä arvoja, mutta se ei monenkaan mielestä tehnyt niin. Tämä oli ongelma niin kotimaan levityksen, kansainvälisten festivaalien kuin ulkomaille myynnin kannalta. Kun kyseessä oli Tarkovski, arvostettu tekijä, jonka elokuvista maksettiin lännessä hyvin, oli suotavaa että ideologiaongelma saatiin jotenkin ratkaistua ja elokuva levitykseen.Sodanjälkeistä eurooppalaista elokuvaa tunteneelle yleisölle Tarkovskin uudessa elokuvassa ei ollut sinänsä mitään uutta. Tarkastelen artikkelissani Peili-elokuvan vastaanottoa Suomessa ja taustoitan sitä Neuvostoliiton elokuvatuotantosysteemin Goskinon ja levitysmonopolin Sovexportfilmin toimilla liittyen elokuvalevitykseen ja Tarkovskin elokuvien myyntiin ulkomaille. Suomi näyttäytyy Tarkovskille ja taiteellisesti korkeatasoiselle neuvostoelokuvalle myötämielisenä maana, jonka valistuneella lehdistöllä ja yleisöllä on edellytykset tunnistaa laadukas elokuva.Reception of The Mirror in Finland: Andrei Tarkovsky as Figurehead of Soviet CinemaAndrei Tarkovsky (1932–1986) was one of the most famous film directors of the Soviet Union and a recognized artist all over the world. In his home country, his films gave rise to controversy. Tarkovsky’s work was acknowledged at many international festivals and his films were allowed to have international distribution. He completed his third full length feature film, The Mirror (Zerkalo) in 1974. It had a strong connection with his personal life.The Mirror was a confusing piece of work. In the Soviet Union, cinema audience mainly saw domestic mass productions. European cinema – like Fellini – was reported on the pages of cinema magazines, but it was quite seldom available for the average movie goer. The Mirror was a Soviet film, made in the arms of Goskino under surveillance of the Communist Party. It was supposed to represent the official values prescribed for Soviet cinema, but it was obvious the film actually represented something else. This was a problem with regard distribution of the film in the Soviet Union, sending it to international film festivals, and selling it to the West. Tarkovsky, on the other hand, was a famous and respected auteur, and his films were sold to West for a good price. The Western audience had seen the new European films after the WWII, so they could appreciate Tarkovsky’s style.The article discusses the reception of The Mirror in Finland, in the context of the centralized Soviet film industry Goskino and the monopoly that Sovexportfilm had over film distribution, including Tarkovsky’s films. Through contemporary sources, the 1970s Finland comes across as a country with a positive attitude towards Tarkovsky and Soviet art cinema.

scholarly journals ‘To Tell China’s Story Well’: China’s International Messaging during the COVID-19 Pandemic

China Report ◽  
2020 ◽  
Vol 56 (3) ◽  
pp. 374-392
Author(s):  
Jabin T. Jacob
Keyword(s):  
Foreign Policy ◽  
Communist Party ◽  
Hubei Province ◽  
The World ◽  
The Usa ◽  
Virus Spreading ◽  
Cover Up ◽  
Party State ◽  
At Home

The COVID-19 pandemic has dented China’s image as an efficient party-state, given how an effort to cover up the outbreak and the resulting delays in reporting led to the virus spreading beyond its origins in Wuhan in Hubei province to the rest of the country as well as rapidly across the world. This article examines China’s massive external propaganda effort launched as part of the effort to repair the damage to its global image and interests. It notes how China has not let the situation stop it from pursuing its traditional foreign policy and security interests, including, of competition with the USA. The article also argues that it is the ruling Communist Party of China’s concerns about its legitimacy at home that have determined the nature and scale of Chinese responses to the pandemic outside its borders.

Optimum Structure of the Banking Market: How Many Banks Are Necessary for Russia?

2006 ◽  
pp. 75-92 ◽  
Author(s):  
S. Moiseev
Keyword(s):  
Banking Sector ◽  
Optimum Structure ◽  
Population Number ◽  
The Third ◽  
Banking Market ◽  
The World ◽  
The Usa ◽  
Per Capita ◽  
The Empirical Analysis ◽  
Equilibrium Number

The number of classical banks in the world has reduced. In the majority of countries the number of banks does not exceed 200. The uniqueness of the Russian banking sector is that in this respect it takes the third place in the world after the USA and Germany. The paper reviews the conclusions of the economic theory about the optimum structure of the banking market. The empirical analysis shows that the number of banks in a country is influenced by the size of its territory, population number and GDP per capita. Our econometric estimate is that the equilibrium number of banks in Russia should be in a range of 180-220 units.

Russian Banking Sector under World Financial Market Uncertainty: Problems and Prospects

2008 ◽  
pp. 4-19 ◽  
Author(s):  
A. Ulyukaev ◽  
E. Danilova
Keyword(s):  
Emerging Markets ◽  
Financial Market ◽  
Banking Sector ◽  
Financial System ◽  
Local Market ◽  
Market Uncertainty ◽  
Balanced Growth ◽  
Banking Sector Development ◽  
The World ◽  
The Usa

The authors point out that the local market crisis - on the USA substandard loan market - has led to the uncertainty of the world financial market. It has caused the growing demand for liquidity in the framework of the world financial system. The Russian banking sector seems to be more stable under negative changes than banking systems of other emerging markets. At the same time one can assume that the crisis will become the factor of qualitative shift in the character of the Russian banking sector development - the shift from impetuous to more balanced growth.

9/11 and Armageddon: the Christian Right and George W. Bush

2003 ◽  
Vol 2 (1) ◽  
pp. 33-50
Author(s):  
Göran Gunner
Keyword(s):  
New York ◽  
Christian Right ◽  
Political Life ◽  
Religious Leader ◽  
The European Union ◽  
The World ◽  
Mega Church ◽  
The Usa ◽  
Jerry Falwell ◽  
High Degree

Authors from the Christian Right in the USA situate the September 11 attack on New York and Washington within God's intentions to bring America into the divine schedule for the end of the world. This is true of Pat Robertson and Jerry Falwell, and other leading figures in the ‘Christian Coalition’. This article analyses how Christian fundamentalists assess the roles of the USA, the State of Israel, Islam, Iraq, the European Union and Russia within what they perceive to be the divine plan for the future of the world, especially against the background of ‘9/11’. It argues that the ideas of the Christian Right and of President George W. Bush coalesce to a high degree. Whereas before 9/11 many American mega-church preachers had aspirations to direct political life, after the events of that day the President assumes some of the roles of a mega-religious leader.

At Home in the World:At Home in the World.

1997 ◽  
Vol 99 (2) ◽  
pp. 449-450
Author(s):  
Robert Desjarlais
Keyword(s):  
The World ◽  
At Home

Sandra Ramos Revisited

2020 ◽  
Vol 2 (4) ◽  
pp. 32-54
Author(s):  
Silvia Spitta
Keyword(s):  
United States ◽  
The United States ◽  
Ancient Greek ◽  
Graphic Arts ◽  
Left Behind ◽  
The World ◽  
The Usa ◽  
Political Choices ◽  
The Rich

Sandra Ramos (b. 1969) is one of the few artists to reflect critically on both sides of the Cuban di-lemma, fully embodying the etymological origins of the word in ancient Greek: di-, meaning twice, and lemma, denoting a form of argument involving a choice between equally unfavorable alternatives. Throughout her works she shines a light on the dilemmas faced by Cubans whether in Cuba or the United States, underlining the bad personal and political choices people face in both countries. During the hard 1990s, while still in Havana, the artist focused on the traumatic one-way journey into exile by thousands, as well as the experience of profound abandonment experienced by those who were left behind on the island. Today she lives in Miami and operates a studio there as well as one in Havana. Her initial disorientation in the USA has morphed into an acerbic representation and critique of the current administration and a deep concern with the environmental collapse we face. A buffoonlike Trumpito has joined el Bobo de Abela and Liborio in her gallery of comic characters derived from the rich Cuban graphic arts tradition where she was formed. While Cuba is now represented as a rotten cake with menacing flies hovering over it ready to pounce, a bombastic Trumpito marches across the world stage, trampling everything underfoot, a dollar sign for a face.

Auto Markets in the World and Strategy of Japan’s Companies

2019 ◽  
Vol 10 (10) ◽  
pp. 1003-1008
Author(s):  
Hiroyuki Matsuoka ◽  
Keyword(s):  
Saudi Arabia ◽  
Electric Vehicle ◽  
New Technologies ◽  
Auto Industry ◽  
Domestic Market ◽  
Automatic Driving ◽  
The World ◽  
Almost All ◽  
Made In

In the world auto market, top three companies are VW(Volkswagen), Runault-Nissan-Mistubishi, and Toyota. About some selected countries and areas, China, England, Italy, Australia, Germany, Turkey, Russia, Sweden, USA, Brazil, UAE, Japan, Vietnam and Thailand are more competitive. However, the situation is different. Seeing monopolistic market countries and areas, Saudi Arabia, Taiwan, Korea, Malaysia, France, India, and Pakistan, in particular, the influence of Japan to Taiwan, India, and Pakistan is very big. But in Korea and France, their own companies’ brands occupy the market. In Japan domestic market, the overall situation is competitive. Almost all vehicles made in Japan are Japanese brand. From now on, we have to note the development of electric vehicle (EV) and other new technologies such as automatic driving and connected car. That is because they will give a great impact on the auto industry and market of Japan. Now Japan’s auto industry is going to be consolidated into three groups, Honda, Toyota group, and Renault-Nissan-Mitsubishi group for seeking the scale merit of economy. Therefore, I will pay attention to the worldwide development of EV and other new technologies and the reorganization of auto companies groups.

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