First, please describe and discuss the following ideas:
_the meaning of the term World Cinema
_the US- centric position of the term,take for granted the centrality of Hollywood as setting the standard against which all other cinemas must define themselves
_Fail to take into account the great diversity of other cinemas or the different historical trajectories of their origins and developments
_World cinema is pertained to the notion of Third Cinema, the theory that originated outside the US/European context. Coined in 1969 by Argentine filmmakers Fernando Solanas and Octavio Getino, Third Cinema is an aesthetic and political project that is revolutionary and militant in origin, nature and intent.
_Third Cinema films question and challenge the structures of power and oppression in the world, be they related to class, race, ethnicity, gender or religion
_Apart from the non-Western/non-Hollywood and Third cinema models, another way of conceiving world cinema is as the sum total of all the national cinemas in the world. For example, some contemporary critics refer to Iran as the world’s most important national cinema, with an artistic significance that invites comparison to Italian neorealism (Tapper 2002)
_Stephen Crofts – Reconceptualizing National Cinemas
Based on criteria such as types of production, distribution and exhibition, audiences, discourses, textuality, national-cultural specificity, Crofts distinguishes between eight varieties of nation-state cinema…
_film is now no longer a separate art but belongs to an enormous multinational system of TV networks, internet, international co-productions, being part of the digital convergence with other media (Chaudhuri 2005: 2).
_ With an attempt to conceptualise cinema beyond the nation-state, terms such as transnational, transvergent and accented cinema (Naficy 2001) have been employed.
__ In a discussion of world cinema, the film-viewing subject also needs to be taken into consideration. In our age of globalization and increased migration, the spectator can no longer be regarded as a homogenous entity. Also the main sites of exhibition (world cities, international film festivals) have become hybrid and plural spaces so that the older dichotomies between West and non-West, self and the other are beginning to disappear.
_? Consequently they propose that world cinema be reconceptualised in terms of “hybridity, transculturation, border crossing, transnationalism and translation” (Dennison & Lim 2006:6) and be regarded separately as a discipline, a methodology and a perspective.
_Who decides what films should be distributed internationally under the “world cinema” label?
? David Damrosch remarks that “a work changes in nature when it moves from a national sphere to a new worldly context” (2003:9-14) and that its reception always depends on the needs and values of the host cultural environment => the foreign work becomes “the locus of a negotiation between two different cultures” (Damrosch 2003:9-14)
_The Birkbeck course in World Cinema, with its four case studies based on African, Iranian, Latin American and Indian cinemas and the particular choice of texts for analysis, offers a wide perspective over world cinema, combining different and sometimes conflicting cultural representations of “otherness” from both inside and outside those cinemas
_Nowell-Smith’s Oxford History of World Cinema, a book that avoids the old dichotomy West/non-West, being structured instead according to the most important technological and aesthetic developments in cinema from a global perspective (Silent Cinema, Sound Cinema, The Modern Cinema),
