Efnisyfirlit

• contents
• preface
• acknowledgments
• part one the geopolitical imaginary of cinema studies
• one notes on transnational film theory
• disciplinary assumptions
• the constitution of texts and societies “prerequisite to any subject [positions] whatsoever”
• international film history, transnational film theory
• notes
• two on the plurality of cinematic transnationalism
• a typology of cinematic transnationalisms
• epiphanic transnationalism
• affinitive transnationalism
• milieu-building transnationalism
• opportunistic transnationalism
• cosmopolitan transnationalism
• globalizing transnationalism
• auteurist transnationalism
• modernizing transnationalism
• experimental transnationalism27
• notes
• three tracking “global media” in the outposts of globalization
• rerouting media circuits
• beyond exceptionalism and multiculturalism
• globalization, imagination and the politics of circulation
• between china and india
• notes
• four time zones and jetlag
• preamble: cinema out of step with itself
• the cosmopolitan phase
• the national phase
• the federated phase
• the world cinema phase
• from world cinema to global cinema
• epilogue: saving cinema
• notes
• five vector, flow, zone
• cinema as place, space, soundscape
• translatio
• language, state, scale
• translatio without translation: versions and polylinguals
• translatio via supplement: dubbing versus subtitling
• translatio in a zero-degree zone
• translatio in the age of digital transfer
• space/region/zone/edition: rescaling the image world
• zone as region: menu as map
• notes
• part two cinema as transnational exchange
• six chinese cinema and transnational film studies
• reproblematizing national cinema
• reconceptualizing chinese cinema
• refashioning transnational studies
• notes
• seven national cinema abroad
• mexican cinema in gringolandia
• marketing
• distribution
• exhibition
• festivals
• television
• video/dvd
• internet
• conclusion
• notes
• eight aural identity, genealogies of sound technologies, and hispanic transnationality on screen
• the film hispano
• the gardel phenomenon and transnational sound in the 1930s
• refining the transnational model: mexican ranchera film
• the competitive politics of cultural identification in the 1940s
• the political afterlife of popular latin american musical traditions
• notes
• nine how movies move
• off the map: searching for the afterlife of movies
• moving between: between bulawayo and hong kong
• so that’s how we started
• films “full of sex and ghosts and monsters”
• the b circuit
• painted flour sacks made in ghana and shaolin tennis shoes made in mexico
• violence and memory34
• aesthetics
• ethics
• let us end in africa
• acknowledgments
• notes
• ten the new paradoxes of black africa’s cinemas
• the perennial matter of audiences
• the myth of popular cinema
• the era of suspicion
• a subversive aesthetic
• a new imaginary
• notes
• eleven the transnational other
• acknowledgments
• notes
• part three comparative perspectives
• twelve fantasy in action
• peirce and indexicality
• hjelmslev
• jakobson
• freud and benjamin
• multiple fantasy registers
• the indexical and the iconic: struggle for hegemony
• fantasies of labor power
• hercules
• bond
• robocop
• notes
• thirteen vernacular modernism
• acknowledgments
• notes
• fourteen globalization and hybridization
• note
• fifteen from playtime to the world
• notes
• selected bibliography
• contributors
• index of film and television titles
• general index