Search results for ""author david scott diffrient""

Omnibus films bring together the contributions of two or more filmmakers. Does this make them inherently contradictory texts? How do they challenge critical categories in cinema studies? What are their implications for auteur theory? As, David Scott Diffrient's Omnibus Films: Theorizing Transauthorial Cinema fills a considerable gap in the history of world cinema and aims to expand contemporary understandings of authorship, genre, narrative, and transnational production and reception. Delving into such unique yet representative case studies as If I Had a Million (1932), Forever and a Day (1943), Dead of Night (1945), Quartet (1948), Love and the City (1953), Boccaccio '70, (1962), New York Stories (1989), Tickets (2005), Visions of Europe (2005), and Paris, je t'aime (2006), this book covers much conceptual ground and crosses narrative as well as national borders in much the same way that omnibus films do. Omnibus Films is a particularly thought-provoking book for those working in the fields of auteur theory, film genre and transnational cinema, and is suitable for advanced students in Cinema Studies.

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Omnibus films bring together the contributions of two or more filmmakers. Does this make them inherently contradictory texts? How do they challenge critical categories in cinema studies? What are their implications for auteur theory? As the first book-length exploration of internationally distributed, multi-director episode films, David Scott Diffrient's Omnibus Films: Theorizing Transauthorial Cinema fills a considerable gap in the history of world cinema and aims to expand contemporary understandings of authorship, genre, narrative, and transnational production and reception. Delving into such unique yet representative case studies as If I Had a Million (1932), Forever and a Day (1943), Dead of Night (1945), Quartet (1948), Love and the City (1953), Boccaccio '70 (1962), New York Stories (1989), Tickets (2005), Visions of Europe (2005), and Paris, je t'aime (2006), this book covers much conceptual ground and crosses narrative as well as national borders in much the same way that omnibus films do. Omnibus Films is a particularly thought-provoking book for those working in the fields of auteur theory, film genre and transnational cinema, and is suitable for advanced students in Cinema Studies.

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Rights advocacy has become a prominent facet of South Korea’s increasingly transnational motion picture output, especially following the 1998 presidential inauguration of Kim Dae-jung, a former political prisoner and victim of human rights abuses who received the Nobel Peace Prize in 2000. Today it is not unusual to see a big-budget production about the pursuit of social justice or the protection of civil liberties contending for the top spot at the box office. With that cultural shift has come a diversification of film subjects, which range from undocumented workers’ rights to the sexual harassment experienced by women to high-school bullying to the struggles among people with disabilities to gain inclusion within a society that has transformed significantly since winning democratic freedoms three decades ago. Combining in-depth textual analyses of films such as Bleak Night, Okja, Planet of Snail, Repatriation, and Silenced with broader historical contextualization, Movie Minorities offers the first English-language study of South Korean cinema’s role in helping to galvanize activist social movements across several identity-based categories.

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As the two billion YouTube views for “Gangnam Style” would indicate, South Korean popular culture has begun to enjoy new prominence on the global stage. Yet, as this timely new study reveals, the nation’s film industry has long been a hub for transnational exchange, producing movies that put a unique spin on familiar genres, while influencing world cinema from Hollywood to Bollywood. Movie Migrations is not only an introduction to one of the world’s most vibrant national cinemas, but also a provocative call to reimagine the very concepts of “national cinemas” and “film genre.” Challenging traditional critical assumptions that place Hollywood at the center of genre production, Hye Seung Chung and David Scott Diffrient bring South Korean cinema to the forefront of recent and ongoing debates about globalization and transnationalism. In each chapter they track a different way that South Korean filmmakers have adapted material from foreign sources, resulting in everything from the Manchurian Western to The Host’s reinvention of the Godzilla mythos. Spanning a wide range of genres, the book introduces readers to classics from the 1950s and 1960s Golden Age of South Korean cinema, while offering fresh perspectives on recent favorites like Oldboy and Thirst. Perfect not only for fans of Korean film, but for anyone curious about media in an era of globalization, Movie Migrations will give readers a new appreciation for the creative act of cross-cultural adaptation.

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Considers the remake from a variety of critical and theoretical perspectives and positions it alongside other serialized cultural forms Examines the historical significance of the remake in revitalizing local industries and breathing life into established film genres (e.g., action-adventure, crime drama, romantic comedy, the Western, etc.) Draws attention to previously overlooked motion pictures produced in East Asia and acknowledges the significant contributions of several prolific yet neglected filmmakers Re-evaluates canonical texts and offers fresh assessments of legendary auteurs such as Ozu Yasujiro, Yu Hyun-mok, Miike Takashi, Johnnie To, and Stephen ChowShowcases the role of remakes in forging cross-cultural alliances both within and beyond the East Asian region while pointing toward prospects of increased transnational coproductions in the coming years This wide-ranging, historically grounded exploration of motion picture remakes produced in East Asia brings together original contributions from experts in Chinese, Hong Kong, Japanese, South Korean, and Taiwanese cinemas and puts forth new ways of thinking about the remaking process as both a critically underappreciated form of artistic expression and an economically motivated industrial practice. Exploring everything from ethnic Korean filmmaker Lee Sang-il's Unforgiven (2013), a Japanese remake of Clint Eastwood's Western of the same title, to Stephen Chow's The Mermaid (2016), a Chinese slapstick reimagining of Walt Disney's The Little Mermaid (1989) and Hans Christian Andersen's 1837 fairy tale, East Asian Film Remakes contributes to a better understanding of cinematic remaking across the region and offers vital alternatives to the Eurocentric and Hollywood-focused approaches that have thus far dominated the field.

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Rights advocacy has become a prominent facet of South Korea’s increasingly transnational motion picture output, especially following the 1998 presidential inauguration of Kim Dae-jung, a former political prisoner and victim of human rights abuses who received the Nobel Peace Prize in 2000. Today it is not unusual to see a big-budget production about the pursuit of social justice or the protection of civil liberties contending for the top spot at the box office. With that cultural shift has come a diversification of film subjects, which range from undocumented workers’ rights to the sexual harassment experienced by women to high-school bullying to the struggles among people with disabilities to gain inclusion within a society that has transformed significantly since winning democratic freedoms three decades ago. Combining in-depth textual analyses of films such as Bleak Night, Okja, Planet of Snail, Repatriation, and Silenced with broader historical contextualization, Movie Minorities offers the first English-language study of South Korean cinema’s role in helping to galvanize activist social movements across several identity-based categories.

Read more less