09/23/21 Global Cinemas - P3084 - Michael Lawrence | Sussex University
Global Cinemas - P3084 - Michael View Online Lawrence
Module reader covering 'set readings' is available. All set films and further viewing are available from Media Resource Centre (Silverstone 301).
Advani, Nikhil. (2004). Kal ho naa ho. Sony Digital Home Entertainment.
Akhtar. (2001a). Dil Chahta Hai.
Anand. (2005a). Salaam Namaste.
Armes, Roy. (1987). Third World film making and the West. University of California Press. Armes, Roy. (1992). Third World Film Making and the West. University of California Press. Armes, Roy. (2006). African filmmaking: north and south of the Sahara. Indiana University Press.
Arnold, Andrea, Chan-wook, Park, Okpeaha Maclean, Andrew, Toro, Guillermo del, Chomet, Sylvain, Yamakawa, Naoto, Waititi, Taika, Sokurov, Aleksandr, Maddin, Guy, Pehn, Stefan, Wagner, Jorg, Elliot, Adam, Cuaro ́ n, Alfonso, Lavis, Chris, Szczarbowski, Maciek, Campion, Jane, Sembe ̀ ne, Ousmane, & Ellis, Simon. (2008). Cinema 16: world short films. Warp.
Ashenden. (18 C.E.a). Luhrmann, us, and them. Inside Story. http://inside.org.au/luhrmann-us-and-them/
Badley, Linda, Palmer, R. Barton, Schneider, Steven Jay, & MyiLibrary. (2006). Traditions in world cinema: Vol. Traditions in world cinema. Edinburgh University Press. http://www.myilibrary.com?id=64313
Bay. (2001b). Pearl Harbor.
Bhattacharjya, Nilanjana. (n.d.). Popular Hindi Film Song Sequences Set in the Indian Diaspora and the Negotiating of Indian Identity. Asian Music, 40(1), 53–82. http://muse.jhu.edu/journals/asian_music/v040/40.1.bhattacharjya.html
Chan. (n.d.-a). Zhang Yimou’s Hero and the Temptations of Fascism. Film International, 2 (8), 14–23. http://www.intellectbooks.co.uk/journals/view-Article,id=7416/
Chan-wook. (2000a). J.S.A.: Joint Security Area.
Chan-wook. (2002). Sympathy for Mr. Vengeance.
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Chan-wook. (2003a). Oldboy.
Chan-wook. (2005b). Lady Vengeance.
Chaudhuri, Shohini. (2005a). Contemporary world cinema: Europe, the Middle East, East Asia and South Asia. Edinburgh University Press.
Chaudhuri, Shohini. (2005b). Contemporary world cinema: Europe, the Middle East, East Asia and South Asia. Edinburgh University Press.
Choi, Jinhee. (2010). The South Korean Film Renaissance: Local Hitmakers, Global Provocateurs: Vol. Wesleyan Film. Wesleyan University Press. http://suss.eblib.com/patron/FullRecord.aspx?p=776711
Chopra, Aditya. (2005). Dilwale dulhania le jayenge. Yash Raj Films.
Ciecko, Anne Tereska. (2006). Contemporary Asian cinema: popular culture in a global frame: Vol. Asian cinema series. Berg.
Codell, Julie F. (2006). Genre, gender, race, and world cinema: an anthology. Blackwell.
Cooke, Paul. (2007a). World cinema’s ‘dialogues’ with Hollywood. Palgrave Macmillan.
Cooke, Paul. (2007b). World cinema’s ‘dialogues’ with Hollywood. Palgrave Macmillan.
Cook, Pam. (n.d.). Transnational utopias: Baz Luhrmann and Australian cinema. Transnational Cinemas, 1(1), 23–36. https://doi.org/10.1386/trac.1.1.23/1
Cook, Pam. (2010). Baz Luhrmann: Vol. World directors. BFI book published by Palgrave Macmillan.
Crowther. (23 C.E.). Exotic Import: Pather Panchali From India Opens Here. http://select.nytimes.com/gst/abstract.html?res=F70C14F73D59127A93C1AB1782D85F4C 8585F9
Dabashi, Hamid. (2001). Close up: Iranian cinema, past, present, and future. Verso.
Dennison, Stephanie, Lim, Song Hwee, & World Cinemas: Identity, Politics, Culture. (2006a). Remapping world cinema: identity, culture and politics in film. Wallflower Press. Dennison, Stephanie, Lim, Song Hwee, & World Cinemas: Identity, Politics, Culture. (2006b). Remapping world cinema: identity, culture and politics in film. Wallflower Press. Dennison, Stephanie, Lim, Song Hwee, & World Cinemas: Identity, Politics, Culture. (2006c). Remapping world cinema: identity, culture and politics in film. Wallflower Press.
Diffrient, David Scott. (n.d.). Shiri. Film Quarterly, 54(3), 40–46. https://doi.org/10.1525/fq.2001.54.3.40
Donadey, Anne. (n.d.). Representing Gender and Sexual Trauma: Moufida Tlatli’s ‘Silences of the Palace’. South Central Review, 28(1), 36–51. http://www.jstor.org/stable/41261475 Do ̈ nmez-Colin,
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Go ̈ nu ̈ l. (2007). The cinema of North Africa and the Middle East. Wallflower Press.
Downing. (1987). Film & politics in the Third World. Autonomedia.
Dudrah, Rajinder Kumar, & Desai, Jigna. (2008). The Bollywood reader. McGraw-Hill Open University Press.
Eleftheriotis, Dimitris, & Needham, Gary. (2006). Asian cinemas: a reader and guide. Edinburgh U.P. http://www.sussex.ac.uk/library/includes/reserve.php?http://www.sussex.ac.uk/library/elect ronic/reserve/2013/P3084_59726.pdf
Elena, Alberto, & Di ́ az Lo ́ pez, Marina. (2003). The cinema of Latin America: Vol. 24 frames. Wallflower.
Ezra, Elizabeth, & Rowden, Terry. (2006). Transnational cinema: the film reader: Vol. In focus--Routledge film readers. Routledge. http://www.loc.gov/catdir/toc/ecip0514/2005016520.html
Gabriel. (n.d.-b). Xala: A cinema of wax and gold. Jump Cut: A Review of Contemporary Media, 27, 31–33. http://www.ejumpcut.org/archive/onlinessays/JC27folder/XalaGabriel.html
Gateward, Frances K. (2007). Seoul searching: culture and identity in contemporary Korean cinema: Vol. SUNY series, horizons of cinema. State University of New York Press. http://www.loc.gov/catdir/toc/ecip076/2006100306.html
Getino, Octavio, Solanas, Fernando E, & Grupo Cine Liberacio ́ n. (2007). La hora de los hornos (The Hours and the Furnaces). Pino Solanas.
Grant, Catherine, & Kuhn, Annette. (2006). Screening world cinema: Vol. A screen reader. Routledge.
Greer. (17 C.E.). Strictly fanciful. http://www.theage.com.au/opinion/strictly-fanciful-20081216-6zs0.html
Gugler, Josef. (2011). Film in the Middle East and North Africa: creative dissidence (1st ed). University of Texas Press.
Guneratne, Anthony R., & Dissanayake, Wimal. (2003). Rethinking Third Cinema. Routledge.
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Gutiérrez Alea, Tomás. (2008). Memories of underdevelopment. MrBongo Films.
Harrison, M. (n.d.). Zhang Yimou’s Hero and the Globalisation of Propoganda. Millennium - Journal of International Studies, 34(2), 569–572. https://doi.org/10.1177/03058298060340021301
Hill, John, Gibson, Pamela Church, Dyer, Richard, Kaplan, E. Ann, & Willemen, Paul. (2000). World cinema: critical approaches. Oxford University Press.
Hochberg. (2000b). National allegories and the emergence of female voice in Moufida Tlatli’s Les silences du palais. Third Text, 14(50), 33–44. https://doi.org/10.1080/09528820008576835
Hogan, Jackie. (2010). Gendered and racialised discourses of national identity in Baz Luhrmann’s Australia. Journal of Australian Studies, 34(1), 63–77. https://doi.org/10.1080/14443050903522069
Issa, Rose, Whitaker, Sheila, National Film Theatre, & Visiting Arts (Organization). (1999). Life and art: the new Iranian cinema. BFI.
Jee-Woon, Kim. (2007). A tale of two sisters. Palisades Tartan.
Je-kyu. (2004a). Tae Guk Gi: The Brotherhood of War.
Johar, Karan. (2002). Kuch kuch hota hai. Yash Raj Films.
Joon-ho. (2006). The Host.
Kang, Che-gyu. (2003). Shiri. Palisades Tartan.
Kao, Kai-Ti, & Rozario, Rebecca-Anne Do. (n.d.). Imagined spaces: The implications of song and dance for Bollywood’s diasporic communities. Continuum: Journal of Media and Cultural Studies, 22(3), 313–326. https://doi.org/10.1080/10304310802001755
Kapoor. (1958). Boot Polish.
Khan, Kabir. (2009). New York.
Kiarostami, Abbas. (2011). The Abbas Kiarostami collection. Artificial Eye.
Kim, Kyung Hyun. (2004). The remasculinization of Korean cinema. Duke University Press.
King. (1971). A Touch of Zen.
Klein. (9 C.E.). When Chinese Martial Arts Flies Through The Global Box Office. http://yaleglobal.yale.edu/content/when-chinese-martial-arts-flies-through-global-box-office
Kraicer. (2003b). Absence as spectacle: Zhang Yimou’s Hero. http://www.chinesecinemas.org/hero.html
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Kurosawa, Akira. (1951). Rashomon.
Kurosawa, Akira. (1961). Yojimbo. Channel 4.
Kurosawa, Akira. (2002a). Seven samurai. British Film Institute.
Kurosawa, Akira. (2002b). The hidden fortress (Tohoscope). British Film Institute.
Landy, Marcia. (n.d.). Political Allegory and ‘Engaged Cinema’: Sembene’s ‘Xala’. Cinema Journal, 23(3), 31–46. http://www.jstor.org/stable/info/1225095
Langford, Michelle. (n.d.). Practical melodrama: from recognition to action in Tahmineh Milani’s Fereshteh trilogy. Screen, 51(4), 341–364. https://doi.org/10.1093/screen/hjq029 Larson. (n.d.-c). Zhang Yimou’s Hero: dismantling the myth of cultural power. Journal of Chinese Cinemas, 2(3), 181–196. http://www.intellectbooks.co.uk/journals/view-Article,id=6703/
Lau. (n.d.-d). Hero: China’s response to Hollywood globalization. Jump Cut: A Review of Contemporary Media, 49. http://www.ejumpcut.org/archive/jc49.2007/Lau-Hero/index.html
Lee. (n.d.-e). Into/Out of the Critical Divide: The Indeterminacy of Hero. Scope, 9. http://www.scope.nottingham.ac.uk/article.php?issue=9&id=955
Lee, Ang, Yeoh, & Chow. (2001). Crouching tiger, hidden dragon. Columbia TriStar Home Entertainment.
Lee, Hyangjin. (2000). Contemporary Korean cinema: identity, culture and politics. Manchester University Press.
Lim, Song Hwee, Ward, Julian, & British Film Institute. (2011). The Chinese cinema book. Palgrave Macmillan.
Luhrmann, Baz, Kidman, Nicole, & Jackman, Hugh. (2009). Australia. 20th Century Fox Home Ent.
Martin. (n.d.-f). Silence and scream: Moufida Tlatli’s cinematic suite. Studies in French Cinema, 4(3), 175–186. https://doi.org/10.1386/sfci.4.3.175/0
Martin, Michael T. (1997). New Latin American cinema: V. 1: Theory, practices, and transcontinental articulations: Vol. Contemporary film and television series. Wayne State University Press.
McGee, Patrick. (2012). Bad history and the logics of blockbuster cinema: Titanic, Gangs of New York, Australia, Inglourious Basterds. Palgrave Macmillan. http://www.palgraveconnect.com/doifinder/10.1057/9781137012531
Meshkini, Marziyeh. (2002). The day I became a woman. Artificial Eye.
MiÌlaÌniÌ, TahmiÌnah, & Iranian Film Society. (2001).The hidden half: a film by Tahmineh Milani ; written and directed by Tahmineh Milani. Irmovies.com.
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Miller, Toby, & Stam, Robert. (2000). Film and theory: an anthology. Blackwell.
Mills. (2010). Mapping Australia: Cinematic Cartographies of (Dis)location. Senses of Cinema, 55. http://sensesofcinema.com/2010/feature-articles/mapping-australia-cinematic-cartographie s-of-dislocation/
Mizoguchi, Kenji. (1952). The life of Oharu.
Mizoguchi, Kenji. (1998a). Sansho Dayu (Sansho the Bailiff). BFI Video Publishing.
Mizoguchi, Kenji. (1998b). Ugetsu monogatari. BFI.
Murphy, David. (2000). Sembene: imagining alternatives in film & fiction. James Currey.
Mushengyezi. (2004b). Reimaging Gender and African Tradition? Ousmane Sembene’s Xala Revisted. Africa Today: Voice of the Continent, 51(1), 47–62. http://www.africatoday.com/cgi-bin/public.cgi
Myung-se. (1999). Nowhere to Hide. South Korea.
Nowell-Smith, Geoffrey. (1997). The Oxford history of world cinema. Oxford University Press.
Nygren, Scott. (2007). Time frames: Japanese cinema and the unfolding of history. University of Minnesota Press.
Ozu, Yasujiro ̄ . (2004a). Late Spring. Tartan DVD.
Ozu, Yasujiro ̄ . (2004b). Tokyo story. Tartan DVD.
Panahi, Jafar. (2002). The circle. Artificial Eye.
Panahi, Jafar. (2012). Offside. Film4.
Papson. (n.d.-g). Baz Luhrmann‘s ’Australia": when excess isn’t parody. Jump Cut: A Review of Contemporary Media, 53. http://www.ejumpcut.org/archive/jc53.2011/papsonAustralia/index.html
Pfaff. (n.d.-h). Three faces of Africa: Women in Xala. Jump Cut: A Review of Contemporary Media, 27, 27–31. http://www.ejumpcut.org/archive/onlinessays/JC27folder/XalaPfaff.html Phillips. (18 C.E.b). Baz Luhrmann’s Australia: a superficial jumble. http://www.wsws.org/en/articles/2008/12/luhr-d18.html
Pines, & Willemen. (1989). Questions of Third Cinema. British Film Institute.
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Prince, Stephen. (1999). The warrior’s camera: the cinema of Akira Kurosawa (Rev. and expanded ed). Princeton University Press.
Rajadhyaksha, Ashish. (2003). The ‘Bollywoodization’ of the Indian cinema: cultural nationalism in a global arena. Inter-Asia Cultural Studies, 4(1), 25–39. https://doi.org/10.1080/1464937032000060195
Rawnsley, Gary D., & Rawnsley, Ming-Yeh T. (2010). Global Chinese cinema: the culture and politics of Hero: Vol. Routledge media, culture and social change in Asia. Routledge.
Ray. (n.d.-i). Under Western Eyes. Sight and Sound, 51(4), 268–274.
Ray, Satyajit. (2003a). The Apu trilogy. Artificial Eye.
Ray, Satyajit. (2003b). The Apu trilogy. Artificial Eye.
Ray, Satyajit. (2004). Pather panchali. Angel Video.
Rezai-Rashti, Goli M. (n.d.). Transcending the Limitations: Women and the Post-revolutionary Iranian Cinema. Critique: Critical Middle Eastern Studies, 16(2), 191–206. https://doi.org/10.1080/10669920701378895
Richie, Donald, & Mellen, Joan. (1999). The films of Akira Kurosawa (New ed, expanded and updated with a new epilogue). University of California Press.
Rocha. (1967). Entranced Earth.
Rocha. (1969). Antonio das Mortes.
Rocha, Glauber. (2008). Black god, white devil. Mr Bongo Records.
Rowland, Richard. (n.d.). Films from Overseas. The Quarterly of Film, Radio and Television, 7(1), 48–57. https://doi.org/10.2307/1209757
Roy, Bimal. (2010). Do bigha zameen. Shemaroo.
Ruberto, Laura E., & Wilson, Kristi M. (2007a). Italian neorealism and global cinema: Vol. Contemporary approaches to film and television series. Wayne State University Press.
Ruberto, Laura E., & Wilson, Kristi M. (2007b). Italian neorealism and global cinema: Vol. Contemporary approaches to film and television series. Wayne State University Press. http://www.loc.gov/catdir/toc/ecip072/2006033483.html
Ruffo, Elio. (n.d.). Italian and Japanese Cinema. East and West, 6(3), 269–273. http://www.jstor.org/stable/info/29753739
Rutsky, R. L., & Geiger, Jeffrey. (2005). Film analysis: a Norton reader. W. W. Norton.
S ̣ adr, H
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̣ ami ̄ d Riz ̤ a ̄ . (2006). Iranian cinema: a political history: Vol. International library of Iranian studies. I. B. Tauris.
Salhi. (2007). Imaging Silence—Representing Women: Moufida Tlatli’s Silences of the Palace and North African Feminist Cinema. Quarterly Review of Film and Video, 24(4), 353–377. https://doi.org/10.1080/10509200500526802
Scullion, Rosemarie. (n.d.). Feminizing National Memory: Mossadegh, Milani and ‘The Hidden Half’. South Central Review, 23(2), 1–11. http://www.jstor.org/stable/info/40039927
Sembe ̀ ne, Ousmane. (2005a). La noire de--. New Yorker Video.
Sembe ̀ ne, Ousmane. (2005b). Xala. New Yorker Films.
Sengoopta, Chandak. (n.d.). ‘The Universal Film for all of us, everywhere in the world’: Satyajit Ray’s Pather Panchali (1955) and the Shadow of Robert Flaherty. Historical Journal of Film, Radio and Television, 29(3), 277–293. https://doi.org/10.1080/01439680903145520
Shaka, Femi Okiremuete. (2005). Modernity and the African cinema: a study in colonialist discourse, post-coloniality, and modern African identities. Africa World Press.
Sherzer, Dina. (n.d.). Remembrance of Things Past: ‘Les Silences du palais’ by Moufida Tlatli. South Central Review, 17(3), 50–59. http://www.jstor.org/stable/info/3190092
Shin, Chi-Yun, & Stringer, Julian. (2005). New Korean cinema. Edinburgh University Press. Slawy-Sutton, Catherine. (2002). ‘Outremer’ and ‘The Silences of the Palace’: Feminist Allegories of Two Countries in Transition. Pacific Coast Philology, 37, 85–104. http://www.jstor.org/stable/info/4142092
Spaas, Lieve. (2000). The francophone film: a struggle for identity. Manchester University Press.
Stollery. (n.d.-j). Masculinities, generations, and cultural transformation in contemporary Tunisian cinema. Screen, 42(1), 49–63. http://screen.oxfordjournals.org/content/42/1/49.full.pdf+html
Stringer, Julian. (2003a). Movie blockbusters. Routledge.
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Stringer, Julian. (2003b). Movie blockbusters. Routledge.
Tapper, Richard. (2002). The New Iranian cinema: politics, representation and identity. I.B. Tauris.
Tarantino, Quentin. (2012). Inglourious basterds. Film4.
Teo, Stephen. (2009). Chinese martial arts cinema: the wuxia tradition: Vol. Traditions in world cinema. Edinburgh University Press. http://www.sussex.ac.uk/library/includes/reserve.php?http://www.sussex.ac.uk/library/elect ronic/reserve/2013/P3084_59723.pdf
Tlatli. (n.d.-k). Moving Bodies: Interview with Laura Mulvey. Sight and Sound, 5(3), 18–20. http://www.sussex.ac.uk/library/includes/reserve.php?http://www.sussex.ac.uk/library/elect ronic/reserve/2013/P3084_59713.pdf
Tlatli, Moufida. (2007). Les silences du palais. Trigon-Film.
Turvey. (n.d.-l). Xala and the Curse of Neo-Colonialism: Reflections on a Realist Project. Screen, 26(3-4), 75–88. http://screen.oxfordjournals.org/content/26/3-4/75.full.pdf+html
Vitali, Valentina, & Willemen, Paul. (2006). Theorising national cinema. BFI.
Wong. (1994). Ashes of Time.
Woo. (2008). Red Cliff.
Xavier, Ismail. (1997). Allegories of underdevelopment: aesthetics and politics in modern Brazilian cinema. University of Minnesota Press.
Yimou. (2004c). House of Flying Daggers.
Yimou, Zhang, & Tarantino, Quentin. (2005). Hero. Beuna Vista Entertainment.
Yoshimoto, Mitsuhiro. (2000). Kurosawa: film studies and Japanese cinema: Vols Asia-Pacific : culture, politics, and society. Duke University Press.
Zeydabadi-Nejad, Saeed. (2010). The politics of Iranian cinema: film and society in the Islamic Republic: Vol. Iranian studies. Routledge.
Zhang, Jia-xuan. (n.d.). Hero. Film Quarterly, 58(4), 47–52. https://doi.org/10.1525/fq.2005.58.4.47
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