scholarly journals Mexican Transnational Cinema and Literature, edited by Maricruz Castro Ricalde, Mauricio Díaz Calderón and James Ramey

2021 ◽  
pp. 219-223
Author(s):  
Carolina Rocha
Keyword(s):  
Transnational Cinema

Diasporic and Gendered Identities in Moroccan Transnational Cinema: Mohammed Ismail’s Ici et là (Here and There)

2018 ◽  
Vol 2 (1) ◽  
pp. 29-33
Author(s):  
Mouhcine El-Hajjami ◽  
Souad Slaoui
Keyword(s):  
National Identity ◽  
Female Subject ◽  
Transnational Cinema ◽  
Visual Discourse ◽  
Gendered Identities ◽  
Feminist Discourse ◽  
The Impact ◽  
The Way

The present paper aims at examining the extent to which Moroccan cinema could establish a diasporic visual discourse that cements national identity and contests the impact of westernization on migrants. Moreover, through the analysis the way in which independent identities are constructed in the host land, the article tries to incorporate a feminist discourse to highlight the role of the female subject in retrieving its own agency by challenging patriarchal oppression. Therefore, we argue that Mohammed Ismail’s feature-length film Ici et là (Here and There) has partially succeeded in creating a space for its diasporic subjects to build up their own independent identities beyond the scope of westernization and patriarchy.

McCormick, Rick. Sex, Politics, and Comedy: The Transnational Cinema of Ernst Lubitsch

2021 ◽  
Vol 94 (2) ◽  
pp. 263-265
Author(s):  
Christian Rogowski
Keyword(s):  
Transnational Cinema ◽  
Ernst Lubitsch

scholarly journals Divergent Accounts of Equivalent Narratives: Russian-Swedish Interdevochka Meets Swedish-Russian Lilya 4-ever

2007 ◽  
Vol 4 (2) ◽  
Author(s):  
Lars Lyngsgaard Fjord Kristensen
Keyword(s):  
Comparative Analysis ◽  
The Other ◽  
Labour Migration ◽  
National Context ◽  
Transnational Cinema ◽  
Cross Border ◽  
Nordic Cinema ◽  
Russian Identity ◽  
Prime Case

In a region that is traditionally considered to be transnational, Nordic cinema has often posed as the prime case for a transnational cinema. The paper contests this notion of Nordic transnationality by analysing two films that depict two Russian women travelling to Sweden. Interdevochka/Intergirl (Todorovski, 1989, USSR) and Lilya-4-ever (Moodysson, 2004, Sweden) challenge the inclusiveness of the region and make explicit the fact that Russian identities are not part of the homogenous mixture of the region. Instead, Russian identities of cross-border prostitution are cinematically subjected to rejection and victimisation. This paper examines how Lilya-4-ever adheres to a European anxiety narrative by performing a Russian return narrative and how Interdevochka/Intergirl portrays ‘the fallen soviet woman’ by travelling to Sweden. These cinematic representations of the female Russian identity travelling to Sweden differ from each national context, but by probing into a comparative analysis the paper will reveal that both films need the Other to narrate these stories of transnational labour migration.

scholarly journals Nairobi-based middle class filmmakers and the production and circulation of transnational cinema

Poetics ◽  
2019 ◽  
Vol 75 ◽  
pp. 101333
Author(s):  
Robin Steedman
Keyword(s):  
Middle Class ◽  
Transnational Cinema

scholarly journals New Transnationalisms in Contemporary Latin American Cinemas

2018 ◽  
Author(s):  
Dolores Tierney
Keyword(s):  
Latin American ◽  
Global Markets ◽  
Transnational Cinema ◽  
Commercial Success ◽  
The Road ◽  
American Films ◽  
On The Road ◽  
New Perspective

In the late 1990s and early 2000s Latin American films Amores perros, Diarios de motocicleta, El hijo de la novia, Y tu mamá también, and Cidade de Deus enjoyed unprecedented critical and commercial success in global markets. Benefiting from external financial and/or creative input, these films were considered examples of transnational cinema. This book examines the six transnational directors (Iñárritu, Cuarón, del Toro, Meirelles, Salles and Campanella), who made these and the subsequent commercially successful and mostly ‘deterritorialized’ films (21 Grams, Babel, Biutiful, El espinazo del Diablo, El laberinto del fauno, Blindness, The Constant Gardener, Children of Men, On the Road, El secreto de sus ojos). Arguing against criticism in which these films’ commercial (Hollywood) and transnational features efface the authorial sensibilities of these directors and make them irrelevant to Latin American trends and politics, this book shows how they engage with national, continental and hemispheric politics and identity. Bringing a new perspective to the transnational films of Latin America’s transnational auteurs, including the recent Gravity, The Revenant, Birdman, and Crimson Peak, this book facilitates understanding how different genres function across cultures.

Finding the Nation in Transnational Cinema

2012 ◽  
pp. 97-113
Author(s):  
Mitsuyo Wada-Marciano
Keyword(s):  
Transnational Cinema

World or Transnational Cinema?

2017 ◽  
pp. 1-18
Author(s):  
Steven Rawle
Keyword(s):  
Transnational Cinema
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