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A discussion of authorship, relating to the feminist study of the role of women in early cinema.

Cette vidéaste regarde - et nous fait regarder - la frontière comme un espace mental et matériel : les interviews, la voix over dont le texte apparaît à l'écran, les citations de textes, les images, les sons et le found footage sont combinés de façon à donner un aperçu saisissant et intime à la fois des conditions de vie des femmes (division du travail, prostitution, violence à l'égard des femmes dans les rues, etc.) propres aux régions frontalières, c'est-à-dire se définissant en fonction des contraintes liées à leur position limitrophe, mais offrant une certaine liberté aux gens qui y vivent du fait, justement, de cette position. Il est intéressant de voir comment le road movie permet de réaffirmer la place de l'automobile comme pur moyen de mobilité, mais en même temps comment il nous oblige à nous concentrer sur un autre type de mobilité, que Walter Moser (2008, p. 9) appelle la « médiamotion », soit : une forme de mobilité que nous procurent les médias mais qui, dans un certain sens, remplace ou redouble le déplacement physique en offrant aux êtres humains une expérience presque paradoxale : le contact à distance. On peut également voir dans le road movie contemporain un « road movie interculturel6», parce que la route y trace «un espace imaginaire particulièrement apte à figurer la complexité et les asymétries de l'interculturel » (Gin 2008, p. 41), mais également parce que : l'intetculturalité [...] du road movie résiderait en ce sens dans le mouvement que subit un principe ou une pulsion d'identification culturelle ne pouvant ni se réaliser ou s'assouvir - narrativement, visuellement - dans l'univocité d'un arrêt sur image, ni pour autant s'épuiser on the road Xp. 44). En fait, la mobilité transnationale se situant au centre de cette production filmique «accentuée» donne lieu à un ensemble de tentatives en constante évolution, où les identités culturelles en devenir peuvent être «constamment reformulées dans une perspective future, bien que conditionnées par des liens historiques et des devoirs avec le passé» (Grillo, Riccio et Salih 2000, p. 16), aussi bien que par les liens qu'entretiennent les migrants et les exilés avec leur identité et leur culture d'origine.

In creating and developing the new genre of the televised novela, a one-hour long dramatic serial, the Brazilian television industry grew, in less than 15 years, from an insignificant player in the international market to one of the largest, most influential in the world. In the first book in English to explore the phenomenon of the telenovela Michele and Armand Mattelart challenge accepted views of the world dominance of United States television and probe the socioeconomic impact of this new genre on a third world country. Using the telenovela and its impact on the medium world-wide, the authors document the important changes in the international circulation of television programs and in the way television is perceived theoretically as a subject of research. The book traces the development of the novela in a country that, in the early 1960s, did not have any nationwide media and later--from 1964 to the 1970s--was ruled by a military dictatorship. It further analyzes the formation of the genre and its mode of production, placing the novela's appearance and development in its cultural, institutional, and economic context. The authors look at the peculiar contradictory relation between the genre's creators and developers--generally left wing intellectuals--and the manipulations required to construct a television industry in a highly competitive marketplace. The book begins with a description of the economic, institutional, and cultural context which produced the genre. It explores the world of soap operas, the development of a national television industry, and the beginnings of an urban consumer society in Brazil. The authors include a valuable and detailed study of the mode of production of the telenovela, placing both the form and content of the genre in their specific economic and institutional context. The book goes on to examine the relationship between the genre and its wider social and cultural environment, explaining its immense popularity and the social function it fulfills. Finally, the authors link the study of Brazilian television to wider debates in media and cultural studies.

This Obitel yearbook brings“Melodrama in times of streaming” as the topic of the year. It aims to identify, through the analysis of the characters, themes and narrative plots of melodrama that are circulating on VoD platforms, the particularities of

This paper describes a current research integrated in an international and interdisciplinary project and developed in a global environment between two different tendencies: integration and desintegration. In this scenary, television narrative arises as an essential tool to create and consolidate new cultural identities in order to get a popular narrative on the concept of nation. El presente texto hace referencia a un estudio en curso1 que se enclava en un proyecto internacional de corte interdisciplinar y que se desarrolla en un escenario global caracterizado por la complejidad y la confrontación dialéctica existente entre las ambivalentes tendencias que se dan a favor de la integración o de la fragmentación. En este escenario, la narrativa televisiva surge como un instrumento determinante en la creación y consolidación de nuevas identidades culturales compartidas, configurándose como una narrativa popular sobre la nación.

En este texto se reportan comparativa e históricamente los resultados de la observación de la programación televisiva de ficción en ocho países iberoamericanos durante 2008. Se aprecian cambios significativos en la producción, en la transmisión y en la recepción de los diversificados formatos que presenta este género televisivo. La telenovela sigue siendo el formato más popular entre las audiencias, el que llena el prime timenacional y sirve, a la vez, de escaparate a una creciente naturalización de la publicidad y la política.

This collection of new writing on contemporary Greek cinema builds and expands on existing work in the field, providing a coherent analysis of films which, despite their international importance, have so far received limited critical attention. The volume maps key trends in Greek cinema since the 1990s within the wider context of production and consumption at both national and international levels. It offers a wide range of critical analyses of documentary and avant-garde filmmaking, art house and popular cinema, and the work of established and new directors as well as deliberations on teaching methodologies and marketing strategies. The book seeks to highlight the continuities, mutual influences and common contexts that inform, shape and inspire filmmaking in Greece today.

This article offers a critical analysis of Matthew Baren’s 2018 film Extravaganza, a documentary about drag scenes in Shanghai. By focusing on some drag performers represented in this film, in tandem with an examination of the social and industry contexts of the film, as well as my interviews with the filmmaker and performers, I problematise the gender identity of the performers and the national identity of the film. Drawing on Deleuze and Guattari’s notion of ‘becoming’ and Song Hwee Lim’s discussion of ‘trans’, I propose to think about certain modes of transnational production with the critical concept of ‘becoming trans’. ‘Becoming trans’ offers a productive way of conceptualising new modes of ‘minor’ transnational cinematic connections in a globalised world without having to resort to identity politics.

The silence around queerness is decisively broken. Much has happened in the last two decades. Today, there are queer groups, writers, activists, academics, filmmakers, and an increasing number of spaces where friendship, solidarity, and political engagement can be nurtured. Queer activism has been responsible for bringing a legal challenge to Section 377 (IPC) that criminalizes “sexual acts against the order of nature”.

The history of gay and lesbian cinema is a storied one, and became that much larger with the recent success of Brokeback Mountain. But the history of gay and lesbian filmmakers is its own story. In The View From Here, queer directors and screenwriters speak passionately about the medium, in particular their personal experiences navi-gating the often cynical and cruel film industry. All of them offer fascinating anecdotes and ideas about cinema, and speak candidly about their attempts to combat studio apathy and demands of “the market” to create films that are entertaining, engaging, and truthful.

This book introduces the term "otherism" and looks at the discourse of otherism and the issue of otherness in South Asian religion, literature and film. It examines cultural questions related to the human condition of being the "other," of the process of "othering" and of the representation of "otherness" and its religious, cultural and ideological implications. The book applies the perspectives of ideological criticism, theories of hybridity, orientalism, nationalism, and gender and queer studies to gain new insights into the literature, film and culture of South Asia. It looks at the different ways of interpreting "otherness" today. The book goes on to analyze the ideological implications of the creation of "otherness" with regard to religious and cultural identity and the legitimation of power, as well as how the representation of "otherness" reflects the power structures of contemporary societies in South Asia. Offering a well-thought-out reflection on important cultural questions as well as a deep insight into the study of religion and "otherness" in South Asian literature and film, this book is a pioneering project that is of interest to scholars of South Asian Studies and South Asian religions, literatures and cultures.

Straight  Skin,  Gay  Masks  and  Pretending  to  Be  Gay  on  Screen  examines cinematic depictions  of  pretending-to-be-gay,  assessing  performances  that not only reflect heteronormative and explicitly homophobic attitudes, but also  offer  depictions  of  gay  selfhood with  more  nuanced  multidirectional identifications. The case of straight protagonists pretending to be gay on screen is the ideal context in which to study unanticipated progressivity and dissidence in regard to  cultural  construction  of  human sexualities  in  the  face  of  theatricalized epistemological collapse. Teasing apart the dynamics of depictions of both sexual  stability  and  fluidity  in  cinematic  images  of  men  pretending  to  be gay offers new insights into such salient issues as sexual vulnerability and dynamics  and  long-term  queer  visibility  in  a  politically  complicated  mass culture  which  is  mostly  produced  in  a  heteronormative  and  even  hostile cultural environment. Additionally, this book initially examines queer uses of sexuality masquerade in Alternate Gay World Cinema that allegorically features a world pretending to be gay, in which straights are harassed and persecuted, in order to expose the tragic consequences of sexual intolerance. Films  and  TV  series  examined  as  part  of  the  analysis  include  The  Gay Deceivers, Victor/Victoria, Happy Texas, William Friedkin’s Cruising and many other straight and gay screens. This  is  a  fascinating  and  important  study  relevant  to  students  and researchers in Film Studies, Media Studies, Gender Studies, Queer Studies, Sexuality Studies, Communication Studies and Cultural Studies.

Toni Morrison purportedly began her career as a novelist because she noticed a dearth of books about black women. As a result of this limitation, Morrison desired to write books “for people like [her], which is to say black people, curious people, demanding people—people who can’t be faked, people who don’t need to be patronized.”¹ Similarly the writer, director, and filmmaker Coquie Hughes (born Latasha Iva Hughes in Chicago in 1970) has produced narratives that feature an array of queer black women—“Girls Like Us” as she calls them in her web series—who are curious, demanding, flawed, and

At the 2012 Golden Globe awards, during her acceptance speech for the Best Actress award for her performance in The Iron Lady (Phyllida Lloyd, 2012), Meryl Streep gave a shout-out to Adepero Oduye for her role as Alike in Dee Rees’s feature film Pariah (2011). The sentiment behind this esteemed acknowledgment was that brilliant performances in important independent films were overlooked and deserved recognition. Streep would go on to win the Best Actress Oscar for a her portrayal of Britain’s first woman prime minister, the a ultraconservative Margaret Thatcher.

The first time I spoke in public about my work was during the Los Angeles Lesbian and Gay Festival in 1990. Cheryl Dunye was the only other woman of color on the panel. When I asked a question regarding funding, I naïvely stated that funding was not a prob lem for me considering the fact that my work at that time was of medium to low production quality. I had minimal access to a low-end production facility, and my piece was only five minutes long. I was alluding to the fact that it has been “easy” for me.

Deeply grounded in the legacy of Black lesbian artists, writers, and filmmakers, current Black lesbian filmmakers are helping to build infrastructure for a transformed future using deeply interconnected methods to transform the whole world and (while we’re at it) the meaning of life. This chapter looks at two projects, the established and evolving Queer Women of Color Media Arts Project based in San Francisco and the emerging Queer Renaissance and Black Feminist Film School Project based in Durham, North Carolina, as examples of the robust future of Black lesbian filmmaking as a transformative community-building practice. The Queer Women of Color