Suchergebnisse

This article is a critical interrogation of scholarship on digital divides as it pertains to development in the so-called `Third World'. The article proceeds by identifying three problematic assumptions of extant research on digital divides in the context of development: the discursive binarization between `haves' and `have-nots'; the normatization of the digital divide; and the unproblematic representation of local community interests. The article then uses a longitudinal case study of one particular Non-Government Organization (NGO) that attempted to develop a system of Information and Communication Technology (ICT) over a 10-year period. Three phases of ICT development are identified: an initial phase, a growth phase, and a consolidation phase. The historical development of ICT in the NGO is used to interrogate the three assumptions of digital divide literature, highlighting its role in organizing digital zones. Implications for understanding digital divide and development issues are discussed.

Cinema is an influential form of storytelling that depends on myths, capital and technology to perform sense-making and reality-building functions. In this chapter, I argue that local cinema is both important and vulnerable. As ideology is an inherent part of cinematic reality, local cinema is an important form of storytelling because it depends on and narratively reproduces myths and ideologies significantly different from and often antagonistic to those of global and national cinema. Compared to these, however, local cinema is a vulnerable form of storytelling because it cannot rely on an established apparatus and its narratives are often disruptive of established myths. While globalization and digitalization foster the commercial competitiveness of global and national cinema and the visibility of their 'realities', local cinema faces 'market censorship' and the risk of a market- driven extinction. A critical political economy of local cinema is an analytical approach that can help analysts, practitioners and educators to appreciate and support local cinema. At the end of this chapter, I present the main features of this approach and the contributions of the essays in this volume. ; https://www.peterlang.com/view/title/70233

Abstract
This essay investigates the absent presence of Baruch Spinoza's thought in Gilles Deleuze's Cinema 1: The Movement-Image and Cinema 2: The Time-Image and argues that the concept of expression—as articulated by Deleuze in his study on Spinoza, Expressionism in Philosophy, as well as in his Logic of Sense—constitutes the crucial condition of possibility of Deleuze's philosophical theory of the cinema and, in particular, of his twofold understanding of cinema as medium of expression and of cinema as expression of time.

Introduction: Zionism, homosexuality, and film -- An imagined city for an imagined community: Tel Aviv and gay identity on the Israeli screen -- Melodrama, decadence, and death in Amos Guttman's cinema -- Gay men and the establishment in the films of Eytan Fox -- Real lives: new Israeli nonfiction gay cinema -- Recent developments and future directions: some concluding notes

Maverick Movies tells the improbable story of New Line Cinema, a company that cut a remarkable path through the American film industry and movie culture. Founded in 1967 as an art film distributor, New Line made a small fortune running John Waters's Pink Flamingos at midnight screenings in the 1970s and found reliable returns with the Nightmare on Elm Street franchise in the 1980s. By 2001, the company competed with the major Hollywood studios and reached global box office success with the Lord of the Rings franchise. Blurring boundaries between high and low culture, between independent film and Hollywood, and between the margins and the mainstream, New Line Cinema epitomizes Hollywood's shift in focus from the mass audience fostered by the classic studios to the multitude of niche audiences sought today.
"At long last, a top film scholar takes a deep dive into New Line Cinema's remarkable and most unlikely history. Mining a wealth of primary sources and trade press accounts, and with access to New Line's renegade founder Bob Shaye himself, Daniel Herbert deftly recounts the company's rags-to-riches saga and firmly situates New Line as one of the most important Hollywood studios in the past half century." — THOMAS SCHATZ, author of The Genius of the System: Hollywood Filmmaking in the Studio Era
"Exhibiting the same archival dexterity he brought to Videoland, Herbert reconsiders how New Line's eclecticism both predicted and reflected broader changes in US film culture of the late twentieth century. This book will revitalize the field of distribution studies." — CAETLIN BENSON-ALLOTT, author of The Stuff of Spectatorship: Material Cultures of Film and Television
"Focusing on New Line Cinema, an indie outfit rooted in 1960s college-campus film culture that in the 1990s briefly became the tail that wagged the dog at the WB, Herbert crafts a compelling road map of the volatile movie industry of postclassical Hollywood." — JON LEWIS, author of Road Trip to Nowhere: Hollywood Encounters the Counterculture

Outlining the rise of Philippine slums alongside the historical development of Philippine urban cinema, Slum Imaginaries and Spatial Justice in Philippine Cinema makes a novel contribution to the cinema-city nexus through its interdisciplinary framework of film studies and human geography.