Visual «difference»: Postcolonial Studies and Intercultural Cinema
Gespeichert in:
| Beteilige Person: | |
|---|---|
| Format: | Elektronisch E-Book |
| Sprache: | Englisch |
| Veröffentlicht: |
New York
Peter Lang Inc., International Academic Publishers
2011
|
| Ausgabe: | 1st, New ed |
| Schlagwörter: | |
| Links: | https://www.peterlang.com/view/product/28102?format=EPDF https://www.peterlang.com/view/product/28102?format=EPDF |
| Beschreibung: | Online resource; title from title screen (viewed June 10, 2019) |
| Umfang: | 1 Online-Ressource (216 Seiten) |
| ISBN: | 9781453900550 |
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| 505 | 8 | |a To date, no text exists that focuses exclusively on the concept of postcolonial film as a framework for identifying films produced within and outside of various formerly colonized nations, nor is there a scholarly text that addresses pedagogical issues about and frameworks for teaching such films. This book borrows from and respects various forms of categorization - intercultural, global, third, and accented - while simultaneously seeking to make manifest an alternate space of signification. What feels like a mainstream approach is pedagogically necessary in terms of access, both financial and physical, to the films discussed herein, given that this text proposes models for teaching these works at the university and secondary levels. The focus of this work is therefore twofold: to provide the methodology to read and teach postcolonial film, and also to provide analyses in which scholars and teachers can explore the ways that the films examined herein work to further and complicate our understanding of «postcolonial» as a fraught and evolving theoretical stance | |
| 505 | 8 | |a «Intercultural cinema has entered the mainstream, and we can neither celebrate it as resistant nor dismiss it as complicit. If a movie you see at the cineplex is an international co-production, its director is a Western person of color, and part of its proceeds go toward charity, does that make it a 'good' movie? Through impressive case studies and close viewings, Heffelfinger and Wright show that intercultural cinema's power relations take place not only within the films but also in the complex materiality of production, reception, and cultural impact.» (Laura Marks, Associate Professor and Dena Wosk University Professor in Art and Culture Studies, School for the Contemporary Arts, Simon Fraser University) | |
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Datensatz im Suchindex
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| author | Heffelfinger, Elizabeth |
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| contents | To date, no text exists that focuses exclusively on the concept of postcolonial film as a framework for identifying films produced within and outside of various formerly colonized nations, nor is there a scholarly text that addresses pedagogical issues about and frameworks for teaching such films. This book borrows from and respects various forms of categorization - intercultural, global, third, and accented - while simultaneously seeking to make manifest an alternate space of signification. What feels like a mainstream approach is pedagogically necessary in terms of access, both financial and physical, to the films discussed herein, given that this text proposes models for teaching these works at the university and secondary levels. The focus of this work is therefore twofold: to provide the methodology to read and teach postcolonial film, and also to provide analyses in which scholars and teachers can explore the ways that the films examined herein work to further and complicate our understanding of «postcolonial» as a fraught and evolving theoretical stance «Intercultural cinema has entered the mainstream, and we can neither celebrate it as resistant nor dismiss it as complicit. If a movie you see at the cineplex is an international co-production, its director is a Western person of color, and part of its proceeds go toward charity, does that make it a 'good' movie? Through impressive case studies and close viewings, Heffelfinger and Wright show that intercultural cinema's power relations take place not only within the films but also in the complex materiality of production, reception, and cultural impact.» (Laura Marks, Associate Professor and Dena Wosk University Professor in Art and Culture Studies, School for the Contemporary Arts, Simon Fraser University) |
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| discipline | Allgemeines Sozial-/Kulturanthropologie / Empirische Kulturwissenschaft |
| edition | 1st, New ed |
| format | Electronic eBook |
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| spelling | Heffelfinger, Elizabeth Verfasser aut Visual «difference» Postcolonial Studies and Intercultural Cinema Elizabeth Heffelfinger, Laura Wright 1st, New ed New York Peter Lang Inc., International Academic Publishers 2011 1 Online-Ressource (216 Seiten) txt rdacontent c rdamedia cr rdacarrier Online resource; title from title screen (viewed June 10, 2019) To date, no text exists that focuses exclusively on the concept of postcolonial film as a framework for identifying films produced within and outside of various formerly colonized nations, nor is there a scholarly text that addresses pedagogical issues about and frameworks for teaching such films. This book borrows from and respects various forms of categorization - intercultural, global, third, and accented - while simultaneously seeking to make manifest an alternate space of signification. What feels like a mainstream approach is pedagogically necessary in terms of access, both financial and physical, to the films discussed herein, given that this text proposes models for teaching these works at the university and secondary levels. The focus of this work is therefore twofold: to provide the methodology to read and teach postcolonial film, and also to provide analyses in which scholars and teachers can explore the ways that the films examined herein work to further and complicate our understanding of «postcolonial» as a fraught and evolving theoretical stance «Intercultural cinema has entered the mainstream, and we can neither celebrate it as resistant nor dismiss it as complicit. If a movie you see at the cineplex is an international co-production, its director is a Western person of color, and part of its proceeds go toward charity, does that make it a 'good' movie? Through impressive case studies and close viewings, Heffelfinger and Wright show that intercultural cinema's power relations take place not only within the films but also in the complex materiality of production, reception, and cultural impact.» (Laura Marks, Associate Professor and Dena Wosk University Professor in Art and Culture Studies, School for the Contemporary Arts, Simon Fraser University) Film (DE-588)4017102-4 gnd rswk-swf Postkolonialismus (DE-588)4566658-1 gnd rswk-swf Interkulturalität (DE-588)4519498-1 gnd rswk-swf (DE-588)4143413-4 Aufsatzsammlung gnd-content Film (DE-588)4017102-4 s Interkulturalität (DE-588)4519498-1 s Postkolonialismus (DE-588)4566658-1 s DE-604 Wright, Laura Sonstige oth Erscheint auch als Druck-Ausgabe 9781433105951 https://www.peterlang.com/view/product/28102?format=EPDF Verlag URL des Erstveröffentlichers Volltext |
| spellingShingle | Heffelfinger, Elizabeth Visual «difference» Postcolonial Studies and Intercultural Cinema To date, no text exists that focuses exclusively on the concept of postcolonial film as a framework for identifying films produced within and outside of various formerly colonized nations, nor is there a scholarly text that addresses pedagogical issues about and frameworks for teaching such films. This book borrows from and respects various forms of categorization - intercultural, global, third, and accented - while simultaneously seeking to make manifest an alternate space of signification. What feels like a mainstream approach is pedagogically necessary in terms of access, both financial and physical, to the films discussed herein, given that this text proposes models for teaching these works at the university and secondary levels. The focus of this work is therefore twofold: to provide the methodology to read and teach postcolonial film, and also to provide analyses in which scholars and teachers can explore the ways that the films examined herein work to further and complicate our understanding of «postcolonial» as a fraught and evolving theoretical stance «Intercultural cinema has entered the mainstream, and we can neither celebrate it as resistant nor dismiss it as complicit. If a movie you see at the cineplex is an international co-production, its director is a Western person of color, and part of its proceeds go toward charity, does that make it a 'good' movie? Through impressive case studies and close viewings, Heffelfinger and Wright show that intercultural cinema's power relations take place not only within the films but also in the complex materiality of production, reception, and cultural impact.» (Laura Marks, Associate Professor and Dena Wosk University Professor in Art and Culture Studies, School for the Contemporary Arts, Simon Fraser University) Film (DE-588)4017102-4 gnd Postkolonialismus (DE-588)4566658-1 gnd Interkulturalität (DE-588)4519498-1 gnd |
| subject_GND | (DE-588)4017102-4 (DE-588)4566658-1 (DE-588)4519498-1 (DE-588)4143413-4 |
| title | Visual «difference» Postcolonial Studies and Intercultural Cinema |
| title_auth | Visual «difference» Postcolonial Studies and Intercultural Cinema |
| title_exact_search | Visual «difference» Postcolonial Studies and Intercultural Cinema |
| title_full | Visual «difference» Postcolonial Studies and Intercultural Cinema Elizabeth Heffelfinger, Laura Wright |
| title_fullStr | Visual «difference» Postcolonial Studies and Intercultural Cinema Elizabeth Heffelfinger, Laura Wright |
| title_full_unstemmed | Visual «difference» Postcolonial Studies and Intercultural Cinema Elizabeth Heffelfinger, Laura Wright |
| title_short | Visual «difference» |
| title_sort | visual difference postcolonial studies and intercultural cinema |
| title_sub | Postcolonial Studies and Intercultural Cinema |
| topic | Film (DE-588)4017102-4 gnd Postkolonialismus (DE-588)4566658-1 gnd Interkulturalität (DE-588)4519498-1 gnd |
| topic_facet | Film Postkolonialismus Interkulturalität Aufsatzsammlung |
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