Add to ORKGThis chapter considers the potential of certain types of philosophy – specifically the “transmodern” ethics of Latin American philosopher Enrique Dussel, and contract theory (Sexual, Natural, Racial) – for our understanding of world cinemas. In particular, it argues for the usefulness of a “transworld” approach to analysis. Grouping together films from different parts of the world is a gradually emerging practice, as Film Studies takes its “transnational turn.” This approach is particularly helpful, I argue, because it enables us to see how the cinemas of the world are collectively engaging as much with world, as they are with national, history
In order to bridge the gap between history and film history as academic disciplines, for both fields...
This book charts the development of the multiplex cinema as the pre-eminent form of film exhibition ...
This chapter reflects on the long history of cultural dialogues in theatre, summed up in the concept...
This chapter considers the potential of certain types of philosophy – specifically the “transmodern”...
The twenty-first century will see a test of the limits of the communicative power of cinema to reach...
However common it has become, the term World Cinema still lacks a proper, positive definition. Despi...
This article examines Chinese cinema to think further about defining and researching transnational c...
This book brings together scholars from Europe, Latin America and the United States in a shared effo...
As a category which seeks to represent the totality of global film productions, World Cinema is here...
In the late 1990s and early 2000s Latin American films like Amores perros, Diarios de motocicleta, Y...
This article considers whether the transnational turn is not, in fact, part of something much larger...
This book identifies a new methodological strategy for the interpretation of film philosophizing. Ma...
Joanne Leal’s chapter investigates how far and how exactly cinema is able to offer a representationa...
Why do we think of clusters of films as a 'national cinema'? Why has the relationship between the na...
In order to bridge the gap between history and film history as academic disciplines, for both fields...
In order to bridge the gap between history and film history as academic disciplines, for both fields...
This book charts the development of the multiplex cinema as the pre-eminent form of film exhibition ...
This chapter reflects on the long history of cultural dialogues in theatre, summed up in the concept...
This chapter considers the potential of certain types of philosophy – specifically the “transmodern”...
The twenty-first century will see a test of the limits of the communicative power of cinema to reach...
However common it has become, the term World Cinema still lacks a proper, positive definition. Despi...
This article examines Chinese cinema to think further about defining and researching transnational c...
This book brings together scholars from Europe, Latin America and the United States in a shared effo...
As a category which seeks to represent the totality of global film productions, World Cinema is here...
In the late 1990s and early 2000s Latin American films like Amores perros, Diarios de motocicleta, Y...
This article considers whether the transnational turn is not, in fact, part of something much larger...
This book identifies a new methodological strategy for the interpretation of film philosophizing. Ma...
Joanne Leal’s chapter investigates how far and how exactly cinema is able to offer a representationa...
Why do we think of clusters of films as a 'national cinema'? Why has the relationship between the na...
In order to bridge the gap between history and film history as academic disciplines, for both fields...
In order to bridge the gap between history and film history as academic disciplines, for both fields...
This book charts the development of the multiplex cinema as the pre-eminent form of film exhibition ...
This chapter reflects on the long history of cultural dialogues in theatre, summed up in the concept...