Just a reminder for followers of this blog that some of our postings are now appearing on The Global Film Book blog. In the main these concern films that relate in some way to the various chapters in the book but otherwise they take the same approach as postings here.
Recent postings include:
Ilo Ilo (Singapore 2013) May 8, 2014
The Past (le passé, France-Italy 2013) May 1, 2014
The Lunchbox (India/Germany/France/US 2013) April 23, 2014
Ringu (Ring, Japan 1998) April 22, 2014 (These are notes from some time ago offering detailed narrative analysis.)
For the past couple of years I’ve been trying to distil some of the best ideas and analysis on The Case for Global Film into a form that I hope will be accessible and useful for students and teachers. The project has now reached fruition in the form of The Global Film Book published in January by Routledge in the UK and US. I’m very grateful to Routledge for their support in publishing a full colour textbook with a range of illustrations and I think it looks very good.
I have also committed to writing a support blog for the book and that too is now live at globalfilmstudies.com At the moment, nearly all the posts on the new blog are taken from the archives of The Case for Global Film, but they are organised in relation to the structure of the book and, over time, new material will appear as exclusive to the new blog (but I will also continue to contribute to this one).
The new book offers an argument about the global production of films (and includes a chapter on ‘global television’) and analyses the ways in which the international trade in film exports operates. It can’t cover every film-producing territory so I have selected certain film industries and film cultures in order to explore specific aspects of my general argument. After a brief outline of the development of the international trade in films since the early 20th century, the book offers an analysis of the influence of the ‘Hollywood model’ and then considers ideas about European ‘national cinemas’ in the UK, France, Spain and the Nordic countries.
I’ve included a chapter on the festival circuit, new waves and auteur cinema (with a case study on Claire Denis). Cuba and Sub-Saharan Africa feature in discussion of what was once known as Third Cinema, ‘Middle East Without Borders’ surveys a region whose cinematic identity often seems to be defined by those outside the region and which is sometimes characterised by the influence of diasporic and ‘exilic’ filmmaking. Japan and South Korea are the focus for a debate about the challenge to the idea of Hollywood as the ‘only’ classical cinema and Indian and Chinese cinemas get separate chapters in recognition of their importance for the future.
One chapter looks at four case studies of filmmaking from around the world and attempts to help students become engaged. I’m going to draw on this material in a free event to be hosted by the National Media Museum in Bradford on Saturday 15 March which will launch the book officially. Film and media teachers and students of all ages (including evening class students) are welcome to attend. Please check out the details here. After this event I will also be giving an illustrated talk to introduce the screening of the new Claire Denis film Bastards (France-Germany 2013).
If you can’t make the launch, the book is available from all good bookshops and the usual online stores – it’s also available as a Kindle book and an e-book from Taylor & Francis (Routledge’s parent company). You can get full details and ‘look inside’ on the Routledge website.
The Global Film Book follows on from The Media Student’s Book in not being tied to a specific syllabus or course. I hope it provides useful background and an introduction to study of films from around the world for any student from A Level to undergraduate and evening class – indeed anyone interested in global film.