Chan, Felicia. "Notes." Cosmopolitan Cinema: Cross-Cultural Encounters in East Asian Film. London • New York: I.B.Tauris, 2017. 148–174. Bloomsbury Collections. Web. 25 Sep. 2021. <http://dx.doi.org/10.5040/9781350985872.0008>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 25 September 2021, 02:08 UTC. Copyright © Felicia Chan 2017. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 148 Notes Foreword 1 . T i m o t h y B r e n n a n , At Home in the World: Cosmopolitanism Now ( Cambridge, MA : Harvard University Press , 1997 ). 2 . P a u l G i l r o y , Aft er Empire: Melancholia or Convivial Culture? ( London : Routledge , 2004 ). 3 . I am writing this foreword in the context of a recent referendum decision in the UK to leave the European Union (EU). Th e so- called Brexit campaign relied heavily on an anti- immigration platform, on xenophobic language and on a nostalgic fantasy of reclaiming Britain for the British. Th e catastrophic failure of Western European countries to respond appropriately to the refugee cri- sis, in part stemming from the war in Syria, forms one of many geo- political landscapes informing the current situation. Th ere are thus multiple reasons to return to cosmopolitan aspirations in the current context. 4 . For example: see Marsha Meskimmon , Contemporary Art and the Cosmopolitan Imagination ( Abingdon, Oxon : Routledge , 2011 ); Bertolt Schoene , Th e Cosmopolitan Novel ( Edinburgh : Edinburgh University Press , 2009 ); and Robert Spencer , Cosmopolitan Criticism and Postcolonial Literature ( Basingstoke : Palgrave Macmillan , 2011 ). 5 . See, for example, Dimitris Eleft heriotis , Cinematic Journeys: Film and Movement ( Edinburgh : Edinburgh University Press , 2010 ), and Stephan K. Schindler and Lutz Koepnick (eds), Th e Cosmopolitan Screen: German Cinema and the Global Imaginary, 1945 to the Present ( Ann Arbor, MI : University of Michigan Press , 2007 ). 6 . Jacques Derrida , On Cosmopolitanism and Forgiveness [1997] ( London : Routledge , 2001 ). 7 . Z y g m u n t B a u m a n , Modernity and Ambivalence ( Cambridge : Polity Press , 1991 ). 8 . See Chapter 1 , p. 24. 9 . G i u l i a n a B r u n o , Street Walking on a Ruined Map: Cultural Th eory and the City Films of Elvira Notari ( Princeton, NJ : Princeton University Press , 1993 ). 1 0 . Th ere is now an extensive literature on trauma and memory. See for exam- ple: Cathy Caruth (ed.), Trauma: Explorations in Memory ( Baltimore, MD : John Hopkins University Press , 1990 ); E. Ann Kaplan and Ban Wang (eds), Trauma and Cinema: Cross- Cultural Explorations ( Hong Kong : Hong 148 99781780767222_pi-192.indd781780767222_pi-192.indd 114848 33/7/2017/7/2017 88:51:58:51:58 PPMM 1 49 Notes to pages xiv–4 Kong University Press , 2004 ); Susannah Radstone and Bill Schwarz (eds), Memory: Histories, Th eories, Debates ( New York : Fordham University Press , 2010 ). 11 . Kaplan and Wang (eds), Trauma and Cinema. 1 2 . V i v i a n S o b c h a c k , ‘ W h a t m y fi ngers knew, the cinesthetic subject, or vision in the fl esh ’, Senses of Cinema 5 ( 2000 ). Available at sensesofcinema.com/ 2000/ conference- special- eff ects- special- aff ects/ fi ngers/ (accessed 31 October 2014); Laura U. Marks , Th e Skin of the Film: Intercultural Cinema, Embodiment, and the Senses ( Durham, NC : Duke University Press , 2000 ). 1 3 . M i c a N a v a , Visceral Cosmopolitanism: Gender, Culture and the Normalisation of Diff erence ( Oxford : Berg , 2007 ). 14 . See Mary Ann Doane , Femmes Fatales: Feminism, Film Th eory, Psychoanalysis ( London : Routledge , 1991 ). 15 . See Homi Bhabha , Th e Location of Culture ( London : Routledge , 1994 ). Introduction: Cosmopolitanism and the cinema 1 . David Miller , ‘ Cosmopolitanism ’, in Garrett Wallace Brown and David Held (eds), Th e Cosmopolitanism Reader ( Cambridge : Polity Press , 2010 ), p. 391 . 2 . Pheng Cheah , ‘ Th e cosmopolitical – today ’, in Pheng Cheah and Bruce Robbins (eds), Cosmopolitics: Th inking and Feeling Beyond the Nation ( Minneapolis, MN : University of Minnesota Press , 1998 ), p. 36 . 3 . R o b e r t S p e n c e r , Cosmopolitan Criticism and Postcolonial Literature ( Basingstoke : Palgrave Macmillan , 2011 ), p. 4 . 4 . Ibid ., p. 13. 5 . Ibid ., p. 12. 6 . Arjun Appadurai , ‘ Cosmopolitanism from below: some ethical lessons from the slums of Mumbai ’. JWTC: Johannesburg Workshop in Th eory and Criticism 4 ( 2011 ). Available at jwtc.org.za/ volume_ 4/ arjun_ appadurai.htm (accessed 18 June 2014). 7 . Gyan Prakash , ‘ Whose cosmopolitanism? Multiple, globally enmeshed and subaltern ’, in Nina Glick Schiller and Andrew Irving (eds), Whose Cosmopolitanism?: Critical Perspectives, Relationalities and Discontents ( New York : Berghahn , 2015 ), p. 27 . 8 . Ibid ., p. 28. 9 . Nina Glick Schiller and Andrew Irving , ‘ Introduction: what’s in a word? What’s in a question? ’, in Nina Glick Schiller and Andrew Irving (eds), Whose Cosmopolitanism?: Critical Perspectives, Relationalities and Discontents ( New York : Berghahn , 2015 ), p. 3 . 10 . Jackie Stacey , ‘ Hollywood memories ’, in Annette Kuhn and Jackie Stacey (eds), Screen Histories: A Screen Reader ( Oxford : Clarendon Press , 1999 ), p. 39 . 149 99781780767222_pi-192.indd781780767222_pi-192.indd 114949 33/7/2017/7/2017 88:51:58:51:58 PPMM 150 Notes to pages 4–11 11 . Poshek Fu , Between Shanghai and Hong Kong: Th e Politics of Chinese Cinemas ( Stanford, CA : Stanford University Press , 2003 ), p. xi . 12 . Laura Mulvey , Death 24x a Second: Stillness and the Moving Image ( London : Reaktion Books , 2006 ), p. 34 . 13 . Galin Tihanov , ‘ Narratives of exile: cosmopolitanism beyond the lib- eral imagination ’, in Nina Glick Schiller and Andrew Irving (eds), Whose Cosmopolitanism?: Critical Perspectives, Relationalities and Discontents ( New York : Berghahn , 2015 ), p. 141 . 14 . Ibid ., pp. 141– 2. 15 . Ibid ., pp. 152, 154. 16 . Ibid ., p. 155. 17 . Ibid ., p. 155. 18 . Ibid ., p. 141. 19 . Dimitris Eleft heriotis , Cinematic Journeys: Film and Movement ( Edinburgh : Edinburgh University Press , 2010 ), p. 76 . 20 . See Rosalind Galt and Karl Schoonover (eds), Global Art Cinema: New Th eories and Histories ( Oxford : Oxford University Press , 2010 ). 21 . Zygmunt Bauman , Modernity and Ambivalence ( Cambridge : Polity Press , 1991 ), p. 55 . 22 . Eleft heriotis, Cinematic Journeys, p. 179. 23 . See Stephanie Dennison and Song Hwee Lim (eds), Remapping World Cinema: Identity, Culture and Politics in Film ( London : Wallfl ower , 2006 ); and Lúcia Nagib , Chris Perriam and Rajinder Dudrah (eds), Th eorizing World Cinema ( London : I.B.Tauris , 2012 ). 24 . Naoki Sakai , ‘ Translation ’, Th eory, Culture & Society, 23 . 2– 3 ( 2006 ), p. 73 . 25 . Agnieszka Szarkowska , ‘ Th e power of fi lm translation ’, Translation Journal 9 . 2 ( 2005 ). Available at translationjournal.net/ journal/ 32fi lm.htm (accessed 29 April 2013). 26 . Michael Phillips , ‘ Turns out Godard’s worldview includes a llama ’, Chicago Tribune (10 June 2011 ). Available at articles.chicagotribune.com/ 2011- 06- 10/ entertainment/ ct- mov- 0610- fi lm- socialisme- 20110610_ 1_ godard- llama- fi lm- socialisme (accessed 17 May 2013). 27 . Walter Benjamin , ‘ Th e translator’s task ’ (‘ Die Aufgabe des Übersetzers’), trans. Steven Rendall , TTR 10 . 2 ( 1997 ), p. 154 . 28 . Ibid ., p. 152. 29 . Ibid ., p. 157. 30 . ‘Titanica’ special issue of the journal, Interdisciplinary Literary Studies 5.1 (2003). 31 . Tim Bergfelder and Sarah Street (eds), Th e Titanic in Myth and Memory: Representations in Visual and Literary Culture ( London : I.B.Tauris , 2004 ). 150 99781780767222_pi-192.indd781780767222_pi-192.indd 115050 33/7/2017/7/2017 88:51:58:51:58 PPMM 1 5 Notes to pages 12–16 32 . Pamela McClintock , ‘ Box offi ce report: Titanic 3D jumps $200 mil in only 12 days ’, Th e Hollywood Reporter (16 April 2012 ). Available at www.hollywoo- dreporter.com/ news/ titanic- box- offi ce- james- cameron- 312497 (accessed 18 June 2014). 33 . Paul Willemen , ‘ Indexicality, fantasy and the digital ’, Inter- Asia Cultural Studies 14 . 1 ( 2013 ), pp. 110 – 35 . 34 . See Edna Lim , ‘ Displacing Titanic: history, spectacle and Hollywood ’, Interdisciplinary Literary Studies 5 . 1 ( 2003 ), pp. 45 – 69 . 35 . Nikos Papastergiadis , Cosmopolitanism and Culture ( Cambridge : Polity Press , 2012 ), p. 11 . 36 . Ibid ., pp. 11– 12. 37 . Ibid ., p. 12. 3 8 . N e l s o n G o o d m a n , Ways of Worldmaking ( Hassocks : Harvester Press , 1978 ), p. 7 . 39 . Pheng Cheah , ‘ What is a world? On world literature as world- making activity ’, Daedalus 137 . 3 ( 2008 ), p. 27 . 40 . Ibid ., p. 28. 41 . Ibid ., p. 30. 42 . Ibid ., p. 35. 43 . Ibid ., p. 35. 44 . Miriam Bratu Hansen , ‘ Th e mass production of the senses: classical cinema as vernacular modernism ’, Modernism/ Modernity 6 . 2 ( 1999 ), p. 63 . Critique of David Bordwell , Janet Staiger and Kristin Th ompson , Th e Classical Hollywood Cinema: Film Style & Mode of Production to 1960 ( New York : Columbia University Press , 1985 ). 4 5 . E d w a r d W. S a i d , Th e World, the Text and the Critic [1983] ( London : Vintage , 1991 ), p. 34 . 46 . Ricciotto Canudo , ‘ Th e birth of the sixth art (1911) ’, in Paul Willemen and Jim Pines (eds), Th e Essential Framework: Classic Film and TV Essays ( London : EpiGraph , 1998 ), pp. 14 – 22 . Th e citation references Canudo’s 1911 essay ‘Th e birth of the sixth art’ where he lays out his arguments for the cinema. He later revised his list to include dance, making cinema the seventh art. 47 . Murray Pomerance , ‘ Introduction ’, in Murray Pomerance (ed.), Cinema and Modernity ( New Brunswick, NJ : Rutgers University Press , 2006 ), pp. 11 – 12 . 48 . Ibid ., p. 12. 49 . Ibid ., pp. 12– 13. 50 . See www.uis.unesco.org/ Culture/ Pages/ movie- statistics.aspx (accessed 30 June 2013). 51 . Aida A. Hozic , Hollyworld: Space, Power, and Fantasy in the American Economy ( New York : Cornell University Press , 2001 ).