Global Cinema Networks

Edited by Elena Gorfinkel and Tami Williams

SERIES: Media Matters

Rutgers University Press

Global Cinema Networks investigates the evolving aesthetic forms, technological and industrial conditions, and social impacts of cinema in the twenty-first century. The collection’s esteemed contributors excavate sites of global filmmaking in an era of digital reproduction and amidst new modes of circulation and aesthetic convergence, focusing primarily on recent films made across Europe, Africa, Latin America, Asia, and the Middle East. Moving beyond the digital as a harbinger of transformation, the volume offers new ways of thinking about cinema networks in a historical continuum, from “international” to “world” to “transnational” to “global” frames.

Assembling an impressive group of internationally recognized scholars, this ambitious volume offers a sustained engagement with cultural infrastructures like film festivals, visual motifs of the global, with a capaciousness that stretches global cinema across a century.’ Nitin Govil, author of Orienting Hollywood: A Century of Film Culture between Los Angeles and Bombay

ELENA GORFINKEL is senior lecturer in film studies at King’s College London in the United Kingdom. She is the author of Lewd Looks: American Sexploitation Cinema in the 1960s.

TAMI M. WILLIAMS is an associate professor of English and film studies at the University of Wisconsin-Milwaukee. She is the author of Germaine Dulac: A Cinema of Sensations.

Table of Contents

Chapter 1: Introduction: Global Cinemas in a Time of Networks
Elena Gorfinkel, King’s College London (U.K.)

Part 1: Cartographies, Geopolitics, Aesthetics

Chapter 2: Beyond and Beneath the Map of World Cinema
Dudley Andrew, Yale University

Chapter 3: Frame
Adrian Martin, Monash University (Australia)

Chapter 4: Abstraction and the Geopolitical: Lessons from Antonioni’s Trip to China
John David Rhodes, University of Cambridge

Chapter 5: The City of Bits and Urban Rule: Media Archaeology, Urban Space, and Contemporary Chinese Documentary
James Tweedie, University of Washington

Part 2: Global Ideality, History, Representation

Chapter 6: Toward an Archeology of Global Rhythms: Melodie der Welt (Melody of the World, 1929) and its Reception in France
Laurent Guido, University of Lille (France)

Chapter 7: When Cinema was Humanism
Karl Schoonover, University of Warwick

Chapter 8: African Cinema: Digital Media and Expanding Frames of Representation
N. Frank Ukadike, Tulane University, New Orleans

Chapter 9: Changing Circumstances: Global Flows of Lesbian Cinema
Patricia White, Swarthmore College

Part 3: Kinships, Identifications, Genres

Chapter 10: Hermano and La hora cero: Violence and Transgressive Subjectivities in Venezuelan Youth Cinema
Luisela Alvaray, DePaul University

Chapter 11: Between Love and the Moral Law: The Fatal Mother in Park Chan-wook’s Sympathy for Lady Vengeance
Peter Y. Paik, Yonsei University (Korea)

Chapter 12: The Queer Mexican Cinema of Julián Hernández
Gilberto M. Blasini, University of Wisconsin–Milwaukee

Chapter 13: The Gangster Film as World Cinema
Jian Xu, University of Wisconsin–Milwaukee

Chapter 14: Epilogue: 24 Frames: Regarding the Past and Future of Global Cinema
Tami Williams, University of Wisconsin–Milwaukee

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