Table of Contents Ivo Ritzer/Peter W Schulze Genre Hybridisation Global Cinematic Flows (Post)National Cinemas Tim Bergfelder Transnational Genre Hybridity Between Vernacular Modernism and Postmodern Parody Harald Steinwender Spectacular Bodies and Funfair Attractions The Italian Peplum Cycle from CABIRIA to II COLOSSO DI RODI Marcus Stiglegger Sons of Cain Traditions of Gothic Horror in Antonio Margheriti's Spaghetti Westerns Fernando Ramos Arenas , Towards a Generic Understanding of the Giallo Crime-Horror Hybrids in Italian Cinema of the 1970s Cosmopolitan Agencies Dimitris Eleftheriotis The Films of Jules Dassin Cosmopolitan Hybridity Ivo Ritzer Sudden Death(s) Hybridisation, Deterritorialisation, and the Post-Colonial Imaginary in Transnational Philippine Media Culture http://d-nb.info/1033542598 Table of Contents Ella Shohat Cinematic Citizenship in the Liminal Zone Between Palestine and Israel 142 Transcultural Subjects Barry Keith Grant «Extremely useful, extremely adaptable» Bram Stoker's Dracula and the Two NOSFERATUS 163 Andreas Stuhlmann The Melodrama Hybrid Forms, Cross-Cultural Narratives, Global Emotions 177 Florian Mundhenke «You Can't Stop What's Coming» Hybridisation of the Western Genre Formula as an Intercultural Strategy of Meaning-Making 197 Peter W. Schulze Mexicanidad Meets Americanism The Circulation of National Imaginaries and Generic Regimes Between the Western and the Comedia Ranchera 215 Glocalising Hollywood Ute Fendler African Francophone Cineastes Going <Genres> Two Examples for (E)Merging Genres 239 Claudia Bohme Global Horror Meets Local Spirits The Evolution of Tanzania's Horror Film Genre 250 Andreas Rauscher Strange Hybrids from a Hong Kong Studio Wuxia and Hollywood Fantasy in A CHINESE GHOST STORY 265 6 Table of Contents Irina Gradinari From Hollywood to Russia: New Russian Action Cinema around 2000 Masculinity, Politics and National Identity in the Films of Aleksey Balabanov 281 Undoing Genre Robert Stam Documentary Variations On a Hybrid Theme 297 Richard Porton Hybridising Documentary Between Fiction and Non-Fiction 314 Oksana Bulgakowa The Socialist Hybrid 337 Lucia Nagib The Classical-Modern Hybrid and the Politics of Intermediality 351 Picture Credits 364 About the Authors 367 7 .

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0 INDEX Pag. 2 - DIRECTOR’S NOTE Pag. 4 - SINOPSYS Pag. 5 - TECNICAL DATA Pag. 6 - PRODUCTION PROFILE Pag. 7 - DIRECTOR Pag. 11 - SCREENWRITER Pag. 12 - CAST WISH LIST Pag. 15 - LOCATIONS Pag. 18 - SKETCHES GOLETTA AND PRAHO 1 DIRECTOR’S NOTE Many years have passed since the last Theatrical or Television production narrating the achievements of the most fascinating and exotic hero born from the imagination of a novelist and this is where our story starts, from the casual meeting between the young Emilio Salgari in a tavern at the port of Trieste and a mysterious sailor who will tell him a story, a story rich of adventure and courage, of battles and love : the story of the Tiger of Mompracem. The old sailor is Yanez De Gomera, a Portuguese pirate and Sandokan’s companion in many adventures. The idea to narrate Salgari’s character at the beginning and at the end of the story, will also give a hypothetical reading of a mystery that has always intrigued thousands of readers worldwide: how Emilio Salgari was able to describe so well and with such abundance of exciting details, lands and countries that in reality he had never seen, having never been able to travel if not with his imagination. Another innovation in comparison to the previous versions of Sandokan will be the story of the genesis of the character, the creation of its myth by the English themselves, that he will fight against for his whole life. In fact we will narrate Sandokan as a child, son of a Malayan Rajah who fights against the control of his country by the English and for this reason he is killed together with all his family by some hired assassins Dayakis paid by James Brooke the white rajah of Sarawak, a man without scruples at the service of the Crown.
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This thesis has been submitted in fulfilment of the requirements for a postgraduate degree (e.g. PhD, MPhil, DClinPsychol) at the University of Edinburgh. Please note the following terms and conditions of use: • This work is protected by copyright and other intellectual property rights, which are retained by the thesis author, unless otherwise stated. • A copy can be downloaded for personal non-commercial research or study, without prior permission or charge. • This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the author. • The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the author. • When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given. Deleuzean Hybridity in the Films of Leone and Argento Keith Hennessey Brown PhD Film Studies University of Edinburgh 2012 Acknowledgements I would first like to thank my supervisors, Professor Martine Beugnet, Dr Daniel Yacavone, and the late Professor John Orr. I would then like to thank my parents, Alex and Mary Brown; all my friends, but especially Li-hsin Hsu, John Neilson and Tracey Rosenberg; and my cats, Bebert and Lucia. Table of Contents Introduction ..................................................................................................... 5-20 Theory ............................................................................................................. 21-62
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11, 2012 Celebrating “Foods & Culture(S) in a Global Context”
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