Table of Contents
Chapter 1: Introduction: Global Cinemas in a Time of Networks
Elena Gorfinkel, King’s College London (U.K.)
Part 1: Cartographies, Geopolitics, Aesthetics
Chapter 2: Beyond and Beneath the Map of World Cinema
Dudley Andrew, Yale University
Chapter 3: Frame
Adrian Martin, Monash University (Australia)
Chapter 4: Abstraction and the Geopolitical: Lessons from Antonioni’s Trip to China
John David Rhodes, University of Cambridge
Chapter 5: The City of Bits and Urban Rule: Media Archaeology, Urban Space, and Contemporary Chinese Documentary
James Tweedie, University of Washington
Part 2: Global Ideality, History, Representation
Chapter 6: Toward an Archeology of Global Rhythms: Melodie der Welt (Melody of the World, 1929) and its Reception in France
Laurent Guido, University of Lille (France)
Chapter 7: When Cinema was Humanism
Karl Schoonover, University of Warwick
Chapter 8: African Cinema: Digital Media and Expanding Frames of Representation
N. Frank Ukadike, Tulane University, New Orleans
Chapter 9: Changing Circumstances: Global Flows of Lesbian Cinema
Patricia White, Swarthmore College
Part 3: Kinships, Identifications, Genres
Chapter 10: Hermano and La hora cero: Violence and Transgressive Subjectivities in Venezuelan Youth Cinema
Luisela Alvaray, DePaul University
Chapter 11: Between Love and the Moral Law: The Fatal Mother in Park Chan-wook’s Sympathy for Lady Vengeance
Peter Y. Paik, Yonsei University (Korea)
Chapter 12: The Queer Mexican Cinema of JuliÁn HernÁndez
Gilberto M. Blasini, University of Wisconsin–Milwaukee
Chapter 13: The Gangster Film as World Cinema
Jian Xu, University of Wisconsin–Milwaukee
Chapter 14: Epilogue: 24 Frames: Regarding the Past and Future of Global Cinema
Tami Williams, University of Wisconsin–Milwaukee
