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In the face of renewed competition from Hollywood since the early 1980s and the challenges posed to Europe's national cinemas by the fall of the Wall in 1989, independent filmmaking in Europe has begun to re-invent itself. European Cinema: Face to Face with Hollywood re-assesses the different debates and presents a broader framework for understanding the forces at work since the 1960s. These include the interface of "world cinema" and the rise of Asian cinemas, the importance of the international film festival circuit, the role of television, as well as the changing aesthetics of auteur cinema. New audiences have different allegiances, and new technologies enable networks to reshape identities, but European cinema still has an important function in setting critical and creative agendas, even as its economic and institutional bases are in transition. - Onder invloed van de rivaliteit met Hollywood en de val van de muur in 1989 vond er in de jaren '90 in veel West-Europese landen een levendig debat plaats over de toekomst van de nationale filmtradities. Van het bestaan van zich onderscheidende 'nationale' stijlen, zoals bijvoorbeeld neo-realisme, zou niet langer kunnen worden uitgegaan. Film zou een benepen kunstvorm geworden zijn, die redding zoekt in het bewaren van de 'nationale' erfenis of hoopt op artistieke vernieuwing van televisie en door de overheid gesubsidieerde prestigeprojecten. In European Cinema blikt Thomas Elsaesser terug op het debat en geeft een genuanceerder beeld van verschillende factoren die sinds de jaren zestig een rol speelden. Er is o.m. aandacht voor de raakvlakken met de 'world cinema' en de opkomst van de Aziatische film, de invloed van het internationale film festival circuit, de rol van televisie en de veranderende esthetiek in auteur-cinema. Nieuwe toeschouwers hebben andere voorkeuren, en nieuwe technologieën bieden de mogelijkheid om bestaande identiteiten te hervormen, maar de Europese cinema heeft nog steeds een belangrijke functie in het vaststellen van kritische en creatieve agenda's, ook al is haar economische en institutionele basis in beweging.

Anthropological cinema is the most representative form of visual anthropological research, due to which it can be considered a kind of calling card of visual anthropology. It is confirmed by facts from the history of the scientific discipline and by constant, continuous interest in anthropological films both from researchers and from the audience. This is caused by variety of different factors, though the key ones are the "visual turn" in the 20th century culture, the development of cinema and television, mostly in the second half of the 20th century, and the media-oriented socio-cultural direction in the period of postmodernism.We can see that the 20th century, despite a lot of negative events, was a fertile ground for the foundation and further development of visual anthropology. However, nowadays we can still observe new different trends in the development of this scientific direction. The increase in the number of interdisciplinary researches, the high degree of involvement in collaborative work of researchers from various scientific spheres, the advancing level of audiovisual media democratization and popularization, and the continuous development of filmmaking technologies — all these, clearly, are modern factors that determine the further direction and specificity of the development of visual anthropology and, in particular, anthropological cinema.This article considers and analyzes the above-mentioned characteristic features of the anthropological cinema of the postmodern period. Special attention is paid to the development of interdisciplinary contacts between visual anthropology and related scientific disciplines, the democratization of video production and the sphere of audiovisual media, and the direction of collaborative anthropological filmmaking.Study and analysis of these features of the anthropological cinema of the postmodern period can help to identify further ways for development of academic and applied visual anthropology in the socio-humanitarian sphere, to understand the nature of media relations within the framework of visual anthropological research, and to determine the role of author-researcher in contemporary visual anthropological discourse.

In the face of renewed competition from Hollywood since the early 1980s and the challenges posed to Europe's national cinemas by the fall of the Wall in 1989, independent filmmaking in Europe has begun to re-invent itself. European Cinema: Face to Face with Hollywood re-assesses the different debates and presents a broader framework for understanding the forces at work since the 1960s. These include the interface of "world cinema" and the rise of Asian cinemas, the importance of the international film festival circuit, the role of television, as well as the changing aesthetics of auteur cinema. New audiences have different allegiances, and new technologies enable networks to reshape identities, but European cinema still has an important function in setting critical and creative agendas, even as its economic and institutional bases are in transition.

Transcultural Cinema. David MacDougall. Edited and with an Introduction by Lucien Taylor. Princeton, NJ: Princeton University Press, 1998.318.

This innovative collection of essays on twenty-first century Chinese cinema and moving image culture features contributions from an international community of scholars, critics, and practitioners. Taken together, their perspectives make a compelling case that the past decade has witnessed a radical transformation of conventional notions of cinema. Following China's accession to the WTO in 2001, personal and collective experiences of changing social conditions have added new dimensions to the increasingly diverse Sinophone media landscape, and provided a novel complement to the existing edifice of blockbusters, documentaries, and auteur culture. The numerous 'iGeneration' productions and practices examined in this volume include 3D and IMAX films, experimental documentaries, animation, visual aides-mémoires, and works of pirated pastiche. Together, they bear witness to the emergence of a new Chinese cinema characterized by digital and, trans-media representational strategies, the blurring of private/public distinctions, and dynamic reinterpretations of the very notion of 'cinema' itself. This title was made Open Access by libraries from around the world through Knowledge Unlatched.--Provided by publisher. ; Includes bibliographical references and index. ; Introduction: China's iGeneration cinema / Keith B. Wagner, Tianqi Yu, Luke Vulpiani -- New Technologies. Tianqi YU: Toward a Communicative Practice: Female First-Person Documentary in Twenty-first Century China -- Paola VOCI: Quasi-Documentary, Cellflix, and Web Spoofs: Chinese Movies? Other Visual Pleasures -- Weihua WU: Individuality, State Discourse, and Visual Representation: The Imagination and Practices of the iGeneration in Chinese Animation -- Bingfeng DONG: Cinema of Exhibition: Film in Chinese Contemporary Art -- Aesthetics. Luke VULPIANI: Goodbye to the Grim Real, Hello to What Comes Next: The Moment of Passage from the Sixth Generation to the iGeneration -- Ling ZHANG: Digitizing City Symphony, Stabilizing the Shadow of Time: Montage and Temporal-Spatial Construction in San Yuan Li -- Dan GAO: From Pirate to Kino-eye: A Genealogical Tale of Film Re-Distribution in China -- Keith B. WAGNER: Xue Jianqiang as Reckless Documentarian: Underdevelopment and Juvenile Crime in post-WTO China -- Social Engagement. Yiman WANG: Of Animals and Men: Toward A Theory of Docu-ani-mentary? -- Ying QIAN: Working with Rubble: Montage, Tweets, and the Reconstruction of an Activist Cinema -- Jia TAN: Provincializing the Chinese Mediascape: Cantonese Digital Activism in Southern China -- Platforms and Politics. Jeesoon HONG with Matthew D. JOHNSON: Shanghai Expo and Screen-Spaces: Big Screens and New Collectivity -- Ma RAN: Regarding the Grassroots Chinese Independent Film Festivals: Regional Assemblage and Abnormal Film Networking? -- Matthew D. JOHNSON: Wu Wenguang and the NGO Aesthetic -- Xiaomei CHEN: The Cinematic Deng Xiaoping: Reform or Restoration? -- Online Audiences -- Ralph parfect: you must believe there is such a person in this world: internet contention of Zhang Yimou's sexual storytelling in under the Hawthorn tree/Shanzhashu Zhi Lian -- Xiao LIU: From the glaring sun to the flying bullets: the dilemma of elliptical memories in "post-" era Chinese cinema. ; This innovative collection of essays on twenty-first century Chinese cinema and moving image culture features contributions from an international community of scholars, critics, and practitioners. Taken together, their perspectives make a compelling case that the past decade has witnessed a radical transformation of conventional notions of cinema. Following China's accession to the WTO in 2001, personal and collective experiences of changing social conditions have added new dimensions to the increasingly diverse Sinophone media landscape, and provided a novel complement to the existing edifice of blockbusters, documentaries, and auteur culture. The numerous 'iGeneration' productions and practices examined in this volume include 3D and IMAX films, experimental documentaries, animation, visual aides-mémoires, and works of pirated pastiche. Together, they bear witness to the emergence of a new Chinese cinema characterized by digital and, trans-media representational strategies, the blurring of private/public distinctions, and dynamic reinterpretations of the very notion of 'cinema' itself. This title was made Open Access by libraries from around the world through Knowledge Unlatched.--Provided by publisher. ; Mode of access: Internet. ; Description based on print version record.

Abstract
Greek cinema is on the rise during a period of deepening economic and political crisis. Films such as Dogtooth, Attenberg and Alps have won critical acclaim and awards at international film festivals. They have been produced under increasingly difficult conditions, at a time when funding for social and cultural programmes in Greece is being cut precipitously. What is the relationship between this cinematic resurgence and the crisis? To what extent are these films a response to the troubles that grip the country? This essay relates the depiction of agency in Lanthimos's and Tsangari's films to the decline of popular sovereignty in European politics, Greek peripheral modernity and epochal transformations in Greek film culture.

The article discusses the issues of gender identity and the crisis of masculinity in the Soviet and post-Soviet cinema in comparison with Western films. Social instability becomes the basis for rethinking cultural identity and expanding the typology of masculinity. This imbalance is most clearly visible in the cinema, which is a beneficial environment for actualizing problematic socio-cultural issues and forming some gender stereotypes and normative behaviors that later enter everyday reality. Following the West, the Russian cinema also focuses on the substantive side of the concept of "masculinity", which is based on the specifics of national identity, traditional goals and social foundations. It is significant that the hegemonic masculinity characteristic of the Western cinema was not basically common in the Soviet era, whose masculinity model was the image of a leader, a worker, and, in the post-war period, a front-line soldier. The collapse of the Soviet Union and the beginning of capitalist relations in Russia caused the overthrow of former cultural values and the crisis of Soviet identity. The suppression of the male characters' "sensitivity" was replaced by a total emancipation and sexuality, which can be witnessed in the abundance of scenes of a sexual nature in the films of the 1990s. However, in the post-Soviet cinema, the focus on the values of Western culture, in which a crisis of masculinity was already evident, stimulated the interest in the Russian image of masculinity, which initially manifested itself in romanticizing the image of a "fair gangster," and later — in the appeal to traditional Russian and Soviet heroes. Since the 2010s, the glorification of the Russian criminal past has declined, opening the space for the emergence of new types of Russian masculinity. The general context of these transformations is represented by the changes of masculinity from the Soviet traumatic, through the post-Soviet (crisis) to the contemporary one.

The appearance of sound film boosted entertainment circuits around the world, drawing cultural cartographies that forged images of spaces, nations and regions. By the late 1920s and early '30s, film played a key role in the configuration of national and regional cultural identities in incipient mass markets. Over the course of the twentieth and early twenty-first centuries, this transmedia logic not only went unthreatened, but also intensified with the arrival of new media and the development of new technologies. In this respect, this book strikes a dialogue between analyses that reflect the flows and transits of music, films and artists, mainly in the Ibero-American space, although it also features essays on Soviet and Asian cinema, with a view to exploring the processes of configuration of cultural identities. As such, this work views national borders as flexible spaces that permit an exploration of the appearance of transversal relations that are part of broader networks of circulation, as well as economic, social and political models beyond the domestic sphere.

AFRICAN CINEMA: ADDRESSEE UNKNOWN Thirty years after Sembene's pioneering Borom Sarret, this is a moment of celebration but also of self-assessment for emergent African cinema -- an opportunity to think through questions of funding, the basis of production, and the way that various African films address their different audiences. Pieces of Identity In Europe and North America a nebulous imaginary unity is projected onto Africa. This lazily assumed misconception continues to underpin the distorting insularity and ignorance of the north. It is precisely an imaginary, implicit unity and not to be confused with the distinct political unity proposed by the project of Pan-Africanism, built from conscious political and cultural alliances. One does not have to be too familiar with the continent to understand that there are also many Africas -- culturally, politically, socially. Indeed more than a thousand languages are spoken in Africa and there are as many.

Die (unvollendete) Autobiographie eines Chiefs aus dem Norden Ghanas berichtet über die ersten (unter britischer Kolonialverwaltung) eingerichteten Schulen und das dortige Schulwesen. Aus den Schülern ging die erste Generation von "Northern politicians" hervor, die im Unabhängigkeitskampf und im ghanaischen Parlament eine bedeutende Rolle spielen sollte. Der Autor berichtet über die politischen Entwicklungen und die persönlichen Beziehungen. (DÜI-Sbd)