NEW BOOK - Cinema at the Periphery.
Edited by Dina Iordanova, David Martin-Jones, and Belén Vidal.
Wayne State University Press, 2010.
“Cinema at the Periphery offers a timely and useful collection of reflections
that challenge conventional definitions of national film cultures. This
engaging volume is a valuable addition to the growing canon of scholarship in
the field of transnational cinemas.”
—B. Ruby Rich, professor of film studies at University of California–Santa Cruz
From Iceland to Iran, from Singapore to Scotland, a growing intellectual and
cultural wave of production is taking cinema beyond the borders of its place of
origin—exploring faraway places, interacting with barely known peoples, and
making new localities imaginable. In these films, previously entrenched spatial
divisions no longer function as firmly fixed grid coordinates, the hierarchical
position of place as “center” is subverted, and new forms of representation
become possible. In Cinema at the Periphery, editors Dina Iordanova, David
Martin-Jones, and Belén Vidal assemble criticism that explores issues of the
periphery, including questions of transnationality, place, space, passage, and
migration.
Cinema at the Periphery examines the periphery in terms of locations, practices,
methods, and themes. It includes geographic case studies of small national
cinemas located at the global margins, like New Zealand and Scotland, but also
of filmmaking that comes from peripheral cultures, like Palestinian “stateless”
cinema, Australian Aboriginal films, and cinema from Quebec. Therefore, the
volume is divided into two key ar¬eas: industries and markets on the one hand,
and identities and histories on the other. Yet as a whole, the contributors
illustrate that the concept of “periphery” is not fixed but is always changing
according to patterns of industry, ideology, and taste.
Cinema at the Periphery highlights the inextricable interrelationship that
exists between production modes and circulation channels and the emerging
narratives of histories and identities they enable. In the present era of
globalization, this timely examination of the periphery will interest teachers
and students of film and media studies.
Contributors: Kay Dickinson, Faye Ginsburg, Mette Hjort, Dina Iordanova, Sheldon
Lu, Laura U. Marks, Bill Marshall, David Martin-Jones, Lúcia Nagib, Duncan
Petrie, Patricia Pisters, Belén Vidal
Amazon.com
http://www.amazon.com/Cinema-Periphery-Contemporary-Film-Television/dp/0814333885/ref=sr_1_1?ie=UTF8&s=books&qid=1267186129&sr=1-1
Amazon.co.uk
http://www.amazon.co.uk/Cinema-Periphery-Contemporary-Approaches-Television/dp/0814333885/ref=sr_1_1?ie=UTF8&s=books&qid=1267186179&sr=8-1
Dina Iordanova is professor of film studies and director of the Centre for Film
Studies at the University of St. Andrews, Scotland. She is the author of Cinema
of Flames: Balkan Film, Culture, and the Media, Emir Kusturica, and Cinema of
the Other Europe. She is the editor of BFI’s Companion to Russian and Eastern
European Cinema and Cinema of the Balkans.
David Martin-Jones is senior lecturer in film studies at the University of St.
Andrews, Scotland. He is the author of Deleuze, Cinema and National Identity,
Deleuze Reframed, Scotland: Global Cinema and the forthcoming Deleuze and World
Cinemas.
Belén Vidal is lecturer in film studies at King’s College London. She has
published on the period film in the journals Screen and Journal of European
Studies and on contemporary Spanish cinema.
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University of St Andrews Webmail: https://webmail.st-andrews.ac.uk
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