Cinema-Monde: Decentred Perspectives on Global Filmmaking in French

ISBN-13: 9781474414982 / Angielski / Twarda / 2018 / 392 str.

Michael Gott; Thibaut Schilt

Opis

With contributions from an international range of specialists, and with considerations of works by contemporary directors like Rachid Bouchareb, Abderrahmane Sissako and Rithy Panh, Cinema-monde explores the porous borders around francophone spaces and the ways in which languages and identities 'travel' in contemporary cinema.

Spis treści

Introduction: The Kaleidoscope of Cinéma-monde; Section I: From Local to Global: The Cinéma(s)-monde(s) of Auteurs and Actors; Chapter 1: ‘Site 2: Style and Encounter in Rithy Panh’s cinéma-monde’, Joseph Mai; Chapter 2: ‘Globalization, Cinema and Terrorism in Rachid Bouchareb’s Films: London River, Baton Rouge and Little Senegal’, Mireille Rosello; Chapter 3: ‘Guerrilla Filmmaking with Rachid Djaïdani’, Laura Reeck; Chapter 4: ‘Globalization, Cinéma-monde, and the Work of Abderrahmane Sissako’, Dayna Oscherwitz; Chapter 5: ‘The Career of Actress Hafsia Herzi: Crossing Borders, Challenging Barriers’, Leslie Kealhofer-Kemp; Section II: Voyages, Limits and Borders; Chapter 6: ‘Lost at Sea or Charting a New Course? Mapping the Murky Contours of Cinéma-monde in Floating Francophone Films’, Michael Gott; Chapter 7: ‘The Beautiful Fantasy: Imaginary Representations of Football in West-African Cinema’, Vlad Dima; Chapter 8: Merry Christmas in No Man’s Land: European Borders, Language Barriers and Front Lines in Christian Carion’s Joyeux Noël, Gemma King; Chapter 9: ‘An Ostrich, a Backhoe and a Few Ski-doos: Tracking the Road Movie in Quebec and Beyond’, Thibaut Schilt; Chapter 10: ‘Accented Mappings of France in a Globalized World: Le Havre (2011) and Samba (2014) Through the Lens of Cinéma-monde’, Leïla Ennaïli; Section III: Hubs and Spheres of Production; Chapter 11: ‘Activist Cinéma-monde in Paris: Filming Foreigners in the French Capital’, - Alison Rice; Chapter 12: ‘Cinema Made in Liège: A ‘Hub’ of Francophone Belgian Filmmaking’, Jaime Steele; Chapter 13: ‘“Images of Diversity”: Film Policy and the “State Struggle” for the Representation of Difference’, Michelle Stewart; Chapter 14: ‘Youth and Média-Engagé: Is This West Africa's Heterolinguistic Cinéma-monde?’, Carina Yervasi; Epilogues; ‘Worlds Within; In the World’, Bill Marshall; 'Cinéma-monde as a Call to Arms’, Lucy Mazdon; ‘Cinéma-monde and the Transnational’, Lucy Mazdon