Theorizing World Cinema

262 Pages·2011·6.88 MB·English

by  Lucia Nagib

00_World_Cinema_i-xxxii 12/9/11 15:41 Page i
Lúcia Nagib is Centenary Professor of World Cinemas at the University of
Leeds. She is the author of several books, including Brazil on Screen: Cinema
Novo, New Cinema, Utopia (I.B.Tauris) and World Cinema and the Ethics
ofRealism.
ChrisPerriamisProfessorofHispanicStudiesattheUniversityofManchester.
Heistheauthor,amongothers,ofthebookFromBanderastoBardem:Starsand
MasculinitiesinRecentSpanishCinema.
Rajinder Dudrah is Senior Lecturer in Screen Studies at the University of
Manchester. He is the author of the books Bollywood: Sociology Goes to the
MoviesandBhangra:BirminghamandBeyond.
00_World_Cinema_i-xxxii 12/10/11 10:20 Page ii
SeriesEditor:LúciaNagib,ProfessorofWorldCinemas,UniversityofLeeds
Advisory Board: Laura Mulvey (UK), Donald Richie (Japan), Robert Stam (USA),
IsmailXavier(Brazil)
TheTaurisWorldCinemaSeriesaimstorevealandcelebratetherichnessandcomplexityoffilm
artacrosstheglobe,exploringawidevarietyofcinemassetwithintheirownculturesandasthey
interconnectinaglobalcontext.
Thebooksintheserieswillrepresentinnovativescholarship,intunewiththemulticulturalcharacter
of contemporary audiences. They will also draw upon an international authorship, comprising
academics,filmwritersandjournalists.
PublishedandforthcomingintheWorldCinemaseries:
BrazilonScreen:CinemaNovo,NewCinema,Utopia
ByLúciaNagib
ContemporaryNewZealandCinema
EditedbyIanConrichandStuartMurray
EastAsianCinemas:ExploringTransnationalConnectionsonFilm
EditedbyLeonHuntandLeungWing-Fai
LebaneseCinema:ImaginingtheCivilWarandBeyond
ByLinaKhatib
NewArgentineCinema
ByJensAndermann
NewDirectionsinGermanCinema
EditedbyPaulCookeandChrisHomewood
NewTurkishCinema:Belonging,IdentityandMemory
ByAsumanSuner
OnCinema
GlauberRocha
EditedbyIsmailXavier
PerformingAuthorship:Self-inscriptionandCorporealityintheCinema
ByCeciliaSayad
TheorizingWorldCinema
EditedbyLúciaNagib,ChrisPerriamandRajinderDudrah
ViewingFilm
ByDonaldRichie
Queries,ideasandsubmissionsto:
SeriesEditor,ProfessorLúciaNagib–[email protected]
CinemaEditoratI.B.Tauris,PhilippaBrewster–[email protected]
Theorizing World
Cinema

Edited by Lúcia Nagib
Chris Perriam and Rajinder Dudrah
00_World_Cinema_i-xxxii 12/9/11 15:42 Page iv
Publishedin2012byI.B.Tauris&Co.Ltd
6SalemRoad,LondonW24BU
175FifthAvenue,NewYorkNY10010
www.ibtauris.com
DistributedintheUnitedStatesandCanadaExclusivelybyPalgraveMacmillan
175FifthAvenue,NewYorkNY10010
Selectionandeditorialmattercopyright©2012,LúciaNagib,ChrisPerriam,RajinderDudrah
Individualchapterscopyright©2012,JohnCaughie,FeliciaChan,RajinderDudrah,Song
HweeLim,TiagodeLuca,LauraMulvey,LúciaNagib,GeoffreyNowell-Smith,ChrisPerriam,
AshishRajadhyaksha,PaulJulianSmith,IsmailXavier
TherightofLúciaNagib,ChrisPerriamandRajinderDudrahtobeidentifiedastheeditors
ofthisworkhasbeenassertedbythemsinaccordancewiththeCopyright,DesignsandPatent
Act1988.
Allrightsreserved.Exceptforbriefquotationsinareview,thisbook,oranypartthereof,may
notbereproduced,storedinorintroducedintoaretrievalsystem,ortransmitted,inanyform
orbyanymeans,electronic,mechanical,photocopying,recordingorotherwise,withoutthe
priorwrittenpermissionofthepublisher.
ISBN:9781848854925(HB)
9781848854932(PB)
AfullCIPrecordforthisbookisavailablefromtheBritishLibrary
AfullCIPrecordisavailablefromtheLibraryofCongress
LibraryofCongressCatalogCardNumber:available
Designedandtypesetby4wordLtd,Bristol,UK
PrintedandboundinGreatBritainbyTJInternationalLtd,Padstow,Cornwall,UK
00_World_Cinema_i-xxxii 14/6/11 17:48 Page v
Contents
ListofIllustrations vii
NotesonContributors xi
Acknowledgements xv
Introduction xvii
Part I The National Project 1
ChapterOne MorvernCallar,ArtCinemaandthe‘Monstrous 3
Archive’
JohnCaughie
ChapterTwo OnFilmandCathedrals:MonumentalArt,National 21
AllegoriesandCulturalWarfare
IsmailXavier
ChapterThree ATheoryofCinemathatCanAccountforIndian 45
Cinema
AshishRajadhyaksha
Part II The Transnational Project 61
ChapterFour TransnationalCinemas:TheCasesofMexico, 63
ArgentinaandBrazil
PaulJulianSmith
ChapterFive EduardoNoriega’sTransnationalProjections 77
ChrisPerriam
ChapterSix FromworldcinematoWorldCinema:WongKar-wai’s 93
AshesofTimeandAshesofTimeRedux
FeliciaChan
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vi
THEORIZING WORLD CINEMA
Part III The Diasporic Project 111
ChapterSeven BeyondWorldCinema?TheDialecticsofBlack 113
BritishDiasporicCinema
RajinderDudrah
ChapterEight SpeakinginTongues:AngLee,AccentedCinema, 129
Hollywood
SongHweeLim
Part IV The Realist Project 145
ChapterNine FromRealismtoNeo-Realism 147
GeoffreyNowell-Smith
ChapterTen Oshima,CorporealRealismandtheEroticized 161
Apparatus
LúciaNagib
ChapterEleven RealismoftheSenses:ATendencyinContemporary 183
WorldCinema
TiagodeLuca
ChapterTwelve Rear-ProjectionandtheParadoxesofHollywood 207
Realism
LauraMulvey
Index 221
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Illustrations
Chapter1
Figure1 Figureinalandscape(MorvernCallar)
Figure2 Theinsectlifeofnightmares(MorvernCallar)
Figure3 Thesupermarket(MorvernCallar)
Figure4 Thecemetery(1)(MorvernCallar)
Figure5 Thecemetery(2)(MorvernCallar)
Figure6 Thecemetery(3)(MorvernCallar)
Figure7 Thebucolicimage(MorvernCallar)
Figure8 Insectlife(MorvernCallar)
Figure9 Oban(MorvernCallar)
Figure10 LeavingOban(MorvernCallar)
Figure11 Clubbing(1)(MorvernCallar)
Figure12 Clubbing(2)(MorvernCallar)
Chapter2
Figure1 TheweddingbanquetinGoodMorning,Babylon
Figure2 MolochinCabiria
Figure3 MolochinMetropolis
Chapter5
Figure1 NoriegawithAnnaMouglalisinNovo
Figure2 ScreengrabofNoriega’sofficialwebsitepage,December2006
Figure3 TheDVDcoverofLesmainsvides(dir.MarcRecha)
Chapter6
Figure1 PosterofAshesofTime(1994)
Figure2 PosterofAshesofTimeRedux(2008)
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viii
THEORIZING WORLD CINEMA
Chapter7
Figure1 AdvertforthescreeningofColinPrescod’sfilm,asdisplayed
ontheDrum’swebsite
Figure2 HashidaandOllyareunitedamidstthecolourfulbackdropof
Blackpoolilluminations
Figure3 DVDcoverofBabymother,withitsthreecentralfemale
friendsinraggaanddancehalldress
Chapter8
Figure1 Ennis(HeathLedger)arrivesatWyominginBrokeback
Mountain(©AlbertaFilmEntertainment/Focus
Features/GoodMachine/ParamountPictures/RiverRoad
Entertainment)
Figure2 Ennisarrivesathisdestination(©AlbertaFilm
Entertainment/FocusFeatures/GoodMachine/Paramount
Pictures/RiverRoadEntertainment)
Figure3 TheprotagonistinUzakbeginshisjourney(©NBCAjans/
NBCFilm)
Figure4 TheprotagonistinUzakflagsdownacar(©NBCAjans/
NBCFilm)
Chapter10
Figure1 Theazumagataallowsthepictureviewertoperformsex:
abstractthinkingfindscontinuityinrealintercourse(Anon,
Manusingaportraitandan‘Edoshape’,monochrome
woodblockillustrationfromanunknownshungabook,
c.1760)
Figure2 ReadingdisruptssexinBreathless
Figures3–4 AsinHarunobu’sshunga,Sada’sartisticperformancehasa
physicalending(woodblockprintbyHarunobuSuzuki,
c.1725–70)
Figure5 Acalligraphylessonleadstosex(TheSpellofAmorousLove,
woodblockprintbyHarunobuSuzuki,c.1766–70)
Figure6 Twoapparentlyindependentactivitiesare,infact,
inextricable(TheSpellofAmorousLove,woodblockprintby
HarunobuSuzuki,c.1766–70)
Figure7 Thevoyeur’sactivitymirrorsandsuggeststhatoftheviewer
(ElegantHornyManeemon,woodblockprintbyHarunobu
Suzuki,c.1768–70)
Figures8–12 Reversingandmergingactiveandpassivevoyeurism:Sada
dubsthegeisha’secstasy
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ix
ILLUSTRATIONS
Chapter11
Figure1 Prolongedstare:Tarr’sSátántangó
Figure2 Tsai’sGoodbyeDragonInn
Figure3 VanSant’sLastDays
Figure4 Majesticlandscapes,minutehumans:VanSant’sGerry
Figure5 Alonso’sLiverpool
Figure6 Serra’sBirdsong
Figure7 CitiesinFocus:Guerín’sIntheCityofSylvia
Figure8 Jia’sStillLife
Figures9–11 FleshlybodiesinReygadas’BattleinHeaven
Chapter12
Figure1 BackStory:MrHansarddemonstratestherear-projection
process
Figure2 Rear-projectionprocess:HerMan(TayGarnett,1931)
Figure3 BackStory:MrHansard:‘BusinessissobadIsometimescall
myselfonthephonetomakesureit’sworking’
Figure4 BackStory:BillyHansard:‘They’llmakeanicedivingreef
forthefishes’