Titlebook: Rethinking Genre in Contemporary Global Cinema; Silvia Dibeltulo,Ciara Barrett Book 2018 The Editor(s) (if applicable) and The Author(s) 2

中古

BACLE

From Nordic Gloom to Nordic Cool: Producing Genre Film for the Global Markets from imported productions in Nordic domestic markets, Kääpä’s chapter explores contemporary production strategies within the context of festival circuits, online platforms, and international professional distribution networks. In exploring these networks, Kääpä focuses on the transnational joint ve

BOLT

A Bollywood Commercial for Ireland: Filming , in Dublin of Bollywood films, makes Hindi blockbusters particularly effective in advertising film locations as tourist destinations. Tracing the links between the production of the film and the promotion of tourism to Ireland, it is argued that the film was used to construct a “tourist gaze” (Urry in .. Sage

Substance-Abuse

Kant’s , and the Disaster Film After 9/11om that generic group attempt to stimulate and shock audiences who witnessed the mediated events of the morning of 11 September 2001. Starting from the qualitative and quantitative magnitude of the collapsing towers (matched with Kant’s dynamical and mathematical Sublimes), it proposes a third categ

Anecdote

Thyroiditis

d movements through various methodologies to provide a diver.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

飓风

Black, White, and Transnational: An Analysis of the Rise, Fall, and Potential Rebirth of the Contempver its necessary intermediality with other popular exhibitions of/platforms for hip hop dance. This is examined in an overview of the genre’s origins and vis-à-vis specific iterations in (trans)national industrial context.

粗俗人

Modern Bromance, Mikhail Bakhtin, and the Dialogics of Alterity a discussion of the nature of genre while underlining the multivalence of the cinematic text. Wall discusses a number of films in detail and the discourses of disgust, desire, anxiety, spectacle, and seduction that characterize the bromance genre generally.

Femish

Pelago

Constructing the Televideofilm: Corporatization, Genrefication, and the Blurring Boundaries of Niger sacrosanct, medium-specific borders. Tsika proposes that in today’s Nigeria, the concept of “genres in transition” entails the migration of generic forms across media and platforms rather than their fundamental transformation.