Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

This book investigates women's work in Italy between 1945 and 1965 using films, original oral history interviews, and archival sources. It focuses on three sectors: agriculture (rice weeders), fashion (seamstresses), and religious work (nuns) and compares women's own words with their representation in film. 20 b/w illus.

Motion pictures. --- Motion pictures

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Revisits Taiwan New Cinema in relation to film festivals from cultural, historical, and geopolitical standpointsLook at the productive roles women have played as discursive mediators of the cultural imaginary of the nation, the auteur, and the art of slow cinemaOffers accounts of the film festival's role in both commissioning and exhibiting filmsExamines film aesthetics influenced by directors' diasporic identities, moving across different regions and nations, such as Malaysia, France, Japan, Myanmar, and TaiwanProvides in-depth case studies on films by three Taiwan-based directors: Hou Hsiao-hsien, Tsai Ming-liang, and Midi Z/Zhao DeyinComplements the scope of and discussions on transnational cinemaTaiwan New Cinema (first wave, 1982-1989; second wave, 1990 onward) has a unique history regarding film festivals, particularly in the way these films are circulated at major European film festivals. It shares a common formalist concern about cinematic modernism with its Western counterparts, departing from previous modes of filmmaking that were preoccupied with nostalgically romanticizing China's image.Through utilising in-depth case studies of films by Taiwan-based directors: Tsai Ming-liang, Zhao Deyin and Hou Hsiao-hsien, Tsai discusses how Taiwan New Cinema represents a struggling configuration of the 'nation', brought forth by Taiwan's multilayered colonial and postcolonial histories. Taiwan New Cinema at Film Festivals presents the conditions that have led to the production of a national cinema, branding the auteur, and examines shifting representations of cultural identity in the context of globalization.

Motion pictures

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

Motion pictures

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

As an endeavour to contribute to the burgeoning field of comparative literature, this monograph addresses the dynamic yet understudied "intertextual dialogism" between modern American literature and contemporary Iranian Cinema, pinpointing how the latter appropriates and recontextualizes instances of the latter to construct and inculcate vestiges of national/gender identity on the silver screen. Drawing on Louis Montrose's catchphrase that Cultural Materialism foregrounds "the textuality of history, [and] the historicity of texts", this book contends that literary "texts" are synchronic artifacts prone to myriad intertextual and extra-textual readings and understandings, each historically conditioned. The recontextualization of Herzog, Franny and Zooey, The Glass Menagerie, A Streetcar Named Desire, and Death of a Salesman into contemporary Iran provides an intertextual avenue to delineate the textuality of history and the historicity of texts.

Motion pictures

Choose an application

• Reference Manager
• EndNote
• RefWorks (Direct export to RefWorks)

"Thinking across the boundaries of utopian studies, film studies, and the sociology of globalisation, this book argues that 21st-century cinema illustrates the rebirth of utopia as an open method grounded in cosmopolitan worldviews and aspirations. Rather than negating hope, promoting a fixed agenda, or depicting an exemplary status quo, contemporary movies such as Children of Men, The East, and The Hunger Games series articulate a cosmopolitan utopianism that vindicates egalitarian and sustainable futures. Re-inscribing the utopian within the political, many 21st-century films challenge existing geopolitical borders and the social barriers imposed by class, gender, race, sexuality, and birthplace. Ecocritical film spaces, caring protagonists, non-mainstream survivors, ecofeminist leaders, and cooperative networks prompt spectators to develop integrating dialogical imaginaries that contest patriarchal traditions, ecocidal progress, and neoliberal definitions of the global. Contemporary with climate change, economic recession, and global social movements, the films explored in this book re-stage utopia as a cosmopolitan method of critical resistance and transformative action-a process in the making that evokes a fairer world to be as much as it speaks of a world that is: one in which global interdependence has shaped not only risks, hostilities, and inequalities, but also inclusive horizons, holistic thinking, intersectional activism, and nurturing affects for others that have become part of us"--

Cosmopolitanism in motion pictures --- Utopias in motion pictures --- Motion pictures