Rethinking Genre in Contemporary Global Cinema

Rethinking Genre in Contemporary Global Cinema offers a unique, wide-ranging exploration of the intersection between traditional modes of film production and new, transitional/transnational approaches to film genre and related discourses in a contemporary, global context. This volume's content-the films, genres, and movements explored, as well as methodologies used in their analysis-is diverse and, crucially, up-to-date with contemporary film-making practice and theory. Significantly, the collection extends existing scholarly discourse on film genre beyond its historical bias towards a predominant focus on Hollywood cinema, on the one hand, and a tendency to treat "other" national cinemas in isolation and/or as distinct systems of production, on the other.

In view of the ever-increasing globalisation and transnational mediation of film texts and screen media and culture worldwide, the book recognises the need for film genre studies and film genre criticism to cast a broader, indeed global, scope. The collection thus rethinks genre cinema as a transitional, cross-cultural, and increasingly transnational, global paradigm of film-making in diverse contexts.

Auteur

Silvia Dibeltulo is Senior Lecturer in Communication, Media and Culture at Oxford Brookes University, UK. Her work centres on screen representations of identity, specifically in terms of ethnicity and gender, film genre, audience studies, cinema heritage, and digital humanities.

Ciara Barrett is University Fellow in Film Studies at the National University of Ireland, Galway. Her research focuses on female performance, representation, and authorship in genre cinema and digital media.

Résumé

Rethinking Genre in Contemporary Global Cinema offers a unique, wide-ranging exploration of the intersection between traditional modes of film production and new, transitional/transnational approaches to film genre and related discourses in a contemporary, global context. This volume's contentthe films, genres, and movements explored, as well as methodologies used in their analysisis diverse and, crucially, up-to-date with contemporary film-making practice and theory. Significantly, the collection extends existing scholarly discourse on film genre beyond its historical bias towards a predominant focus on Hollywood cinema, on the one hand, and a tendency to treat other national cinemas in isolation and/or as distinct systems of production, on the other.

In view of the ever-increasing globalisation and transnational mediation of film texts and screen media and culture worldwide, the book recognises the need for film genre studies and film genre criticism to cast a broader, indeed global, scope. The collection thus rethinks genre cinema as a transitional, cross-cultural, and increasingly transnational, global paradigm of film-making in diverse contexts.

Contenu

1. Introduction: Genres in Transition (Silvia Dibeltulo and Ciara Barrett)

Part I. Identities: Race, Ethnicity, Gender

2. Black, White, and Transnational: An Analysis of the Rise, Fall, and Potential Rebirth of the Contemporary Urban Dance Musical in Anglophone Western Cinemas (Ciara Barrett)

3. Tales of Loss, Betrayal, and Regain: Irishness and Ethnic Identity in Contemporary Irish-Themed American Gangster Films (Silvia Dibeltulo)

4. Neurotic and Going Nowhere: Comedy and the Contemporary Jewish American Male (Jennifer O'Meara)

5. Modern Bromance, Mikhail Bakhtin, and the Dialogics of Alterity (David Wall)

Part II. Genre/Nation

6. The En-genrement of the Nation: The Spanish Civil War Film and Guillermo del Toro's Fantasies (Juan F. Egea)

7. Commedia all' italiana American Style: Assessing the Recent Remakes of Classic Comedy Italian Style (Giacomo Boitani) Part III. Transition(s) and Hybridity

8. The Wuxia Films of Zhang Yimou: A Genre in Transit (Ian Kinane)

9. The Smart Teen Film 1990-2005: Identity Crisis, Nostalgia, and the Teenage Viewpoint (Laura Canning) Part IV. Genre and Industry: Production, Marketing, Audiences

10. Constructing the Televideofilm: Corporatization, Genrefication, and the Blurring Boundaries of Nigerian Media (Noah Tsika)

11. From Nordic Gloom to Nordic Cool: Producing Genre Film for the Global Markets (Pietari Kääpä)

12. A Bollywood Commercial for Ireland: Filming Ek Tha Tiger in Dublin (Giovanna Rampazzo)

Part V. Genre(s) in a post-9/11 context

13. Kant's Sublime and the Disaster Film after 9/11 (Barry Monahan)

14. Two Chronotopes of the Terrorist Genre (Cormac Deane)

15. Between Torture Porn and Zombie Apocalypse: Horror and Utopia in British-themed Biopolitical Films after 9/11 (Tamás Nagypál)