By Sukhmani Khorana
Cinematic items within the twenty-first century more and more emerge from, interact with, and are fed on in cross-cultural settings. whereas there were a couple of phrases used to explain cinematic varieties that don't undergo allegiance to a unmarried state by way of conceptualization, content material, finance and/or viewership, this quantity contends that "crossover cinema" is the main apt modern description for these points of latest cinema on which it focuses. This rivalry is provoked via an appreciation of the cross-cultural fact of our post-globalization twenty-first century global.
This quantity either outlines the background of utilization of the time period and grounds it theoretically in ways in which emphasize the personal/poetic as well as the political. all the 3 sections of the amount then considers crossover movie from one in every of 3 views: construction, the texts themselves, and distribution and intake.
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Extra resources for Crossover Cinema: Cross-Cultural Film from Production to Reception
Cooking with Stella. Toronto: Mongrel Media. Roy, Bimal, dir. 1959. Sujata. Mumbai: Bimal Roy Productions. Saltzman, Devyani. 2006. Shooting Water: A Mother-Daughter Journey and the Making of a Film. New Delhi: Penguin Books. 4 Los Libertadores as Crossover Cinema Noah Zweig [T]here is a growing awareness that popular encodings of history— rather than those created for professional historians or film scholars— are powerful materials in building a consensus on what constitutes history, and on what kind of history shall be constituted.
This project becomes even more formidable in that what distinguishes the Bolivarian experiment as a cultural counterhegemonic project is that it is a top-down process. Unlike earlier socialist-democratic programs, though, Bolivarian Venezuela is a hyper-state-crafting “civil society” in its own image. For Gramsci, a precondition for realizing a revolutionary workers state is the construction of a counterhegemonic culture, outside of the state, unlike what is the case in Bolivarian Venezuela. For many cultural studies scholars, popular culture is understood as a series of disparate spaces in which popular subjects, in contrast to members of the dominant group, are formed (Rowe and Schelling 1991, 15).
THE FUTURE (AND THE PAST) SK: Do you have other projects in India coming? DM: Yeah, there is a project called “Stella” [released as Cooking with Stella (Mehta 2009)], which I’m codirecting with my brother. We’ll start shooting at the end of February if I’m still alive. ” It’s a film about an ordinary young woman in her forties who got married into a Korean royal family. Royalty really intrigues me. SK: Is it based on something? DM: It’s a true story. I’ve written half the script. SK: Do you usually take a while to write a script?