Transnational Cinematic And Popular Music Icons

Transnational Cinematic & Popular Music Icons: Lena Horne, Dorothy Dandridge, & Queen Latifah, 1917-2017 centers twentieth and twenty-first century black-transnational stereotypes, celebrities, and symbols Lena Horne's, Dorothy Dandridge;s, and Queen Latifah’s transnational popular cultural struggles between domination and autonomy, with a particular emphasis on their films and popular music. Linking each performer to twentieth century U.S., African-American, and global gender histories and noting the intersections of race, gender, sexuality, class, and empire in their overlapping transnational biographies, Transnational Cinematic & Popular Music Icons: Lena Horne, Dorothy Dandridge, & Queen Latifah, 1917-2017 connects Horne, Dandridge, and Latifah to each other and legacies of Hollywood stereotypes and popular music’s internationally-routed politics. Through a close reading of Horne's, Dandridge's, and Latifah’s films and popular music, the performers tie to historic black-transnational caricatures, from the “tragic mulatto” to Sapphire, Mammy, and Jezebel, and additional, non-white female performers, from Josephine Baker to Halle Berry, maneuvering within transnational popular culture industrial matrices and against white supremacist and hetero-patriarchal forces.

This book explores the films and popular music of Lena Horne, Dorothy Dandridge, and Queen Latifah, connecting each performer to female black-transnational histories and nonwhite female performers' representational struggles.

In this book, I provided a comprehensive guide to film investment, including the history of film investment in Europe and North America, the structure of the film industry, current trends, and the art of investing in film. I covered the various types of investments, such as equity investments, debt investments, gap financing, and tax incentives, and explained the risks and rewards of film investing along with case studies. I have also discussed building a film investment portfolio, due diligence, working with producers, agents, managers and talents, evaluating film projects, negotiating deals, legal considerations, distribution and marketing, and the international market. Additionally, I included case studies of successful and failed investments, as well as real estate and crowdfunding options for film investment. Finally, I concluded with a discussion of the future of the film industry and the role of investors in shaping up the movie industry. I wrote this book out of my deep passion for the film industry and a desire to share my knowledge and experience as a film investor and filmmaker with aspiring investors in this field. My ultimate goal is to inspire and motivate readers to pursue their passion and make a positive impact in the film industry. In addition, I aim to challenge prevalent myths and misconceptions that surround film investment and encourage critical thinking among my audience and readers. I also wrote this book with investors, filmmakers, and academics in mind, as there is currently a lack of practical literature on film investment for higher education. The existing books on the market are outdated and do not provide relevant information for today's industry.

The business of filmmaking is a multifaceted and intricate industry that encompasses various aspects such as production, distribution, and marketing. Success in this field requires a combination of talent, creativity, and business acumen. Filmmakers must possess a thorough understanding of the market, identifying trends and opportunities to capitalize on. Additionally, they must adeptly manage budgets, negotiate deals, and foster relationships with investors, distributors, and other industry stakeholders. Recent years have witnessed significant transformations in the film industry due to advancements in artificial intelligence (AI) technology and the surge of streaming services. While traditional movie theaters retain their importance, an increasing number of viewers now prefer online or mobile platforms for film consumption. Consequently, filmmakers must adapt to these evolving trends and find innovative ways to engage with audiences. My goal in writing this book is to raise awareness about film marketing processes and the art of building a business and network within the film industry. Unfortunately, colleges and universities often neglect these critical aspects, with the majority of lectures and programs focusing solely on the technicalities of filmmaking. Merely obtaining a master's degree in film production is insufficient for success in this field. To thrive in filmmaking, like any other business, one must cultivate relationships with various stakeholders, ranging from cast and crew to sales agents, distributors, exhibitors, lawyers, and publicists. This book is not another typical guide to filmmaking. Instead, I delve into the essential elements of building a successful business in the movie industry, emphasizing the impact of artificial intelligence on different aspects of the filmmaking process. Furthermore, I discuss strategies for increasing the value of one's film, such as hiring A-list actors for low-budget projects and more.

In tandem with a postnational imaginary which is nurtured by the ever-present promise of deterritorialized mobility and burgeoning migratory fluxes, walls and fences separating nation-states multiply. This is a burning issue: even though nation states at the centre of the global order increasingly present themselves as postnational, calls for tighter border security undermine utopian notions of both a borderless New Europe and the USA as the Promised Land. This collection investigates the urgent issue of borderscapes and the cinematic imaginary by bringing together a range of new approaches in the field of film and media studies, crossing over into sociology, migration studies and artistic research. The contributions focus on the interrelated motifs of borderscapes as they are represented and used in transnational cinematographies, from Palestine to Sweden, Spain, Finland, Italy, Iran, Iraq, France, the UK and US, and as constituting premises of cinematic production. The chapters in this book were originally published in the Transnational Cinemas journal.

A Companion to Hong Kong Cinema provides the firstcomprehensive scholarly exploration of this unique global cinema.By embracing the interdisciplinary approach of contemporary filmand cultural studies, this collection navigates theoretical debateswhile charting a new course for future research in Hong Kongfilm. Examines Hong Kong cinema within an interdisciplinary context,drawing connections between media, gender, and Asian studies,Asian regional studies, Chinese language and cultural studies,global studies, and critical theory Highlights the often contentious debates that shape currentthinking about film as a medium and its possible future Investigates how changing research on gender, the body, andsexual orientation alter the ways in which we analyze sexualdifference in Hong Kong cinema Charts how developments in theories of colonialism,postcolonialism, globalization, neoliberalism, Orientalism,and nationalism transform our understanding of the economics andpolitics of the Hong Kong film industry Explores how the concepts of diaspora, nostalgia, exile, andtrauma offer opportunities to rethink accepted ways ofunderstanding Hong Kong’s popular cinematic genres andstars

At the start of the twenty-first century challenges to the global hegemony of U.S. culture are more apparent than ever. Two of the contenders vying for the hearts, minds, bandwidths, and pocketbooks of the world’s consumers of culture (principally, popular culture) are India and South Korea. “Bollywood” and “Hallyu” are increasingly competing with “Hollywood”—either replacing it or filling a void in places where it never held sway. This critical multidisciplinary anthology places the mediascapes of India (the site of Bollywood), South Korea (fountainhead of Hallyu, aka the Korean Wave), and the United States (the site of Hollywood) in comparative dialogue to explore the transnational flows of technology, capital, and labor. It asks what sorts of political and economic shifts have occurred to make India and South Korea important alternative nodes of techno-cultural production, consumption, and contestation. By adopting comparative perspectives and mobile methodologies and linking popular culture to the industries that produce it as well as the industries it supports, Pop Empires connects films, music, television serials, stardom, and fandom to nation-building, diasporic identity formation, and transnational capital and labor. Additionally, via the juxtaposition of Bollywood and Hallyu, as not only synecdoches of national affiliation but also discursive case studies, the contributors examine how popular culture intersects with race, gender, and empire in relation to the global movement of peoples, goods, and ideas.

Combining a diverse range of case studies with discussion between leading scholars in star studies and transnational cinema, this book analyzes stars as sites of cross-cultural contestation and the essays in this collection explore how the plasticity of stars helps disparate peoples manage the shifting ideologies of a transnational world.