In this Book

Cinema at the Periphery
summary
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 areas: 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.

Table of Contents

  1. Cover
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  1. Series Page
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  1. Title Page
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  1. Copyright
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  1. Contents
  2. pp. v-vi
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  1. Acknowledgments
  2. p. vii
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  1. Introduction: A Peripheral View of World Cinema
  2. pp. 1-20
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  1. Part 1. Peripheral Positions: (Re-)drawing Industries and Markets
  2. pp. 21-22
  1. Rise of the Fringe: Global Cinema’s Long Tail
  2. pp. 23-45
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  1. Affinitive and Milieu-Building Transnationalism: The Advance Party Initiative
  2. pp. 46-66
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  1. Cinema in a Settler Society: Brand New Zealand
  2. pp. 67-83
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  1. Peripheral Visions: Blak Screens and Cultural Citizenship
  2. pp. 84-103
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  1. Emerging from Underground and the Periphery: Chinese Independent Cinema at the Turn of the Twenty-First Century
  2. pp. 104-118
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  1. New Spaces of Empire: Quebec Cinema’s Centers and Peripheries
  2. pp. 119-134
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  1. Part 2. Peripheral Visions: (Re-)conceiving Identities and Histories
  2. pp. 135-136
  1. The Palestinian Road (Block) Movie: Everyday Geographies of Second Intifada Cinema
  2. pp. 137-155
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  1. Islands at the Edge of History: Landscape and the Past in Recent Scottish-Gaelic Films
  2. pp. 156-174
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  1. Filming the Times of Tangier: Nostalgia, Postcolonial Agency, and Preposterous History
  2. pp. 175-189
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  1. Back to the Margins in Search of the Core: Foreign Land’s Geography of Exclusion
  2. pp. 190-210
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  1. Memories of Underdevelopment: Torremolinos 73, Cinephilia, and Filiation at the Margins of Europe
  2. pp. 211-231
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  1. Experience—Information—Image: A Historiography of Unfolding in Arab Cinema
  2. pp. 232-254
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  1. List of Contributors
  2. pp. 255-258
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  1. Index
  2. pp. 259-268
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  1. Back Cover
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