Cin Ma Monde

The first book devoted to a wide-ranging study of developments in global French-language cinema, from Quebec to Mauritania and from Belgium to Cambodia, Cinâema-monde picks up on the lively scholarly debates generated by the related topic of littâerature-monde. Extending the scope of this debate to cover the thriving and diverse area of international French-language cinema, this innovative book also considers cinema from France within the context of global production. With contributions from an international range of specialists, and with considerations of works by contemporary directors like Rachid Bouchareb, Abderrahmane Sissako and Rithy Panh, Cinâema-monde explores the porous borders around francophone spaces and the ways in which languages and identities 'travel' in contemporary cinema.--

This collection of ten chapters and three original interviews with Québécois filmmakers focuses on the past two decades of Quebec cinema and takes an in-depth look at a (primarily) Montreal-based filmmaking industry whose increasingly diverse productions continue to resist the hegemony of Hollywood and to exist as a visible and successful hub of French-language – and ever more multilingual – cinema in North America. This volume picks up where Bill Marshall’s 2001 Quebec National Cinema ends to investigate the inherently global nature of Quebec’s film industry and cinematic output since the beginning of the new millennium. Through their analyses of contemporary films (Une colonie, Avant les rues, Bon cop, bad cop, Les Affamés, Tom à la ferme, Uvanga, among others), directors (including Xavier Dolan, Denis Côté, Sophie Desrape, Chloé Robichaud, Jean-Marc Vallée, and Monia Chokri) and genres (such as the buddy comedy and the zombie film), our authors examine the growing tension between Quebec cinema as a “national cinema” and as an art form that reflects the transnationalism of today’s world, a new form of fluidity of individual experiences, and an increasing on-screen presence of Indigenous subjects, both within and outside the borders of the province. The book concludes with specially conducted interviews with filmmakers Denis Chouinard, Bachir Bensadekk, and Marie-Hélène Cousineau, who provide their views and insights on contemporary Quebec filmmaking.

Francophone Belgian Cinema offers an original critical analysis of filmmaking in an oft-neglected 'national' and regional cinema. The book draws key distinctions between the local, national, small national, regional and transnational frameworks in both representational and industrial terms. Alongside the Dardenne brothers, this book considers four promising Francophone Belgian filmmakers who have received limited critical attention in academic publications on contemporary European cinema: Joachim Lafosse, Olivier Masset-Depasse, Lucas Belvaux and Bouli Lanners. Exploring these filmmakers' themes of post-industrialism, paternalism, the fractured nuclear family and spatial dynamics, as well as their work in the more commercial road movie and polar genres, Jamie Steele analyses their stylistic continuities and filiation. This is complemented by an analysis of how the industrial aspects of film production, distribution and exhibition contribute to the creation of both a regional and transnational cinema.

This collection of essays deals directly and compellingly with contemporary issues in African cinema. In particular, they address key aspects of post-colonialism and feminism - the two major topics of interest in current criticism of African films - but coverage is also given to spectatorship, national identity, ethnography, patriarchy, and the creation of key film industries in developing countries.

V. 1. Theory, practices, and transcontinental articulations -- v. 2. Studies of national cinemas. Includes bibliographical references and indexes.

Moroccan film production has increased rapidly since the late 2000s, and Morocco is a thriving service production hub for international film and television. Taking a transnational approach to Moroccan cinema, this book examines diversity in its production models, its barriers to international distribution and success, its key markets and audiences, as well as the consequences of digital disruption upon it.

The chapters in The Oxford Handbook of Canadian Cinema present a rich, diverse overview of Canadian cinema. Responding to the latest developments in Canadian film studies, this volume takes into account the variety of artistic voices, media technologies, and places which have marked cinema in Canada throughout its history. Drawing on a range of established and emerging scholars from a range of disciplines, this volume will be useful to teachers, scholars, and to a general readership interested in cinema in Canada. Moving beyond the director-focused approach of much previous scholarship, this book is concerned with communities, institutions, and audiences for Canadian cinema at both national and international levels. The choice of subjects covered ranges from popular, genre cinema to the most experimental of artistic interventions. Canadian cinema is seen in its interaction with other forms of art-making and media production in Canada and at the international level. Particular attention has been paid to the work of Indigenous filmmakers, members of diasporic communities and feminist and LGBTQ artists. The result is a book attentive to the complex social and institutional contexts in which Canadian cinema is made and consumed.

Born in 1964, Cambodian filmmaker Rithy Panh grew up in the midst of the Khmer Rouge’s genocidal reign of terror, which claimed the lives of many of his relatives. After escaping to France, where he attended film school, he returned to his homeland in the late 1980s and began work on the documentaries and fiction films that have made him Cambodia’s most celebrated living director. The fourteen essays in The Cinema of Rithy Panh explore the filmmaker’s unique aesthetic sensibility, examining the dynamic and sensuous images through which he suggests that “everything has a soul.” They consider how Panh represents Cambodia’s traumatic past, combining forms of individual and collective remembrance, and the implications of this past for Cambodia’s transition into a global present. Covering documentary and feature films, including his literary adaptations of Marguerite Duras and Kenzaburō Ōe, they examine how Panh’s attention to local context leads to a deep understanding of such major themes in global cinema as justice, imperialism, diaspora, gender, and labor. Offering fresh takes on masterworks like The Missing Picture and S-21 while also shining a light on the director’s lesser-known films, The Cinema of Rithy Panh will give readers a new appreciation for the boundless creativity and ethical sensitivity of one of Southeast Asia’s cinematic visionaries.