World Cinemas, Transnational Perspectives

'this splendid book investigates the ways in whihc cinema operates internationally and interconnectedly.'- Choice

'Many of these essays open new avenues of investigation that will keep scholars busy for a generation.'- Choice

"This book is a timely and important contribution toward updating film studies in accordance with the changed context in which the discipline now finds itself." --Transnational Cinemas

"The editors of World Cinemas, Transnational Perspectives might well have added ‘Cinema in the Age of Transnational Reproduction’ as the subtitle of their engaging volume. The contributors parse and elucidate the proliferating typology of emergent national, international, transnational, world, multinational, postnational, paranational, and global cinema practices and theories worldwide. They take into consideration the changing sociopolitical, financial, industrial, technological, and demographic changes that underpin these cinematic developments. The result is a fascinating textual and contextual reader on our current moment of globalization."--Hamid Naficy, Northwestern University, author of An Accented Cinema: Exilic and Diasporic Filmmaking.

"This ambitious and intellectually engaging volume succeeds in its aim to rethink the geopolitical imaginary of film studies as a discipline, by reconsidering film historiography beyond the nation-state and focusing instead on a variety of transnational formations. Essays by leading scholars provide not only new theoretical and methodological approaches, but also illuminating case studies and discussions of the comparative process itself, deepening and expanding our understanding of world cinemas in a revised frame of film history. World Cinemas, TransnationalPerspectives represents the very best in film scholarship today."--Patrice Petro, University of Wisconsin-Milwaukee, author of Aftershocks of the New: Feminism and Film History

"This splendid book investigates the ways in which cinema operates internationally and interconnectedly. Durovicovi and Newman (both, Univ. of Iowa) argue that in the current era of globalization, studying particular national cinemas, particular genres, or narrowly focused theories in isolation no longer makes sense. The volume includes essays on international financing and production, worldwide distribution, audience reception, the interpretation of genres and styles (think kung-fu goes to Bollywood--or to Bulawayo), and the hybridization of theory. This reviewer especially admired Paul Willeman's "Fantasy in Action." Many of these essays open new avenues of investigation that will keep scholars busy for a generation. Summing up: Highly recommended. Lower-division undergraduates through faculty and professionals. --W.A. Vincent,Michigan State University