Table of contents for Transnational cinema : the film reader / edited by Elizabeth Ezra and Terry Rowden.

Bibliographic record and links to related information available from the Library of Congress catalog.

Note: Contents data are machine generated based on pre-publication provided by the publisher. Contents may have variations from the printed book or be incomplete or contain other coding.

Transnational Cinema: The Film Reader
Introduction: What is Transnational Cinema? by Elizabeth Ezra and Terry Rowden
Introduction to Section I: From National to Transnational Cinema
Chapter 1. Andrew Higson, ?The Limiting Imagination of National Cinema? from 
Cinema and Nation, eds. Mette Hjort and Scott Mackenzie (London and New York: 
Routledge 2000), pp. 63-74.
Chapter 2. David Murphy, ?Africans Filming Africa: Questioning Theories of an 
Authentic African Cinema.? Journal of African Cultural Studies 13, No. 2, December 
2000, pp. 239-49. 
Chapter 3. Ella Shohat, "Post-Third-Worldist Culture: Gender, Nation, and the 
Cinema" from Feminist Genealogies, Colonial Legacies, Democratic Futures, eds. Jacqui 
Alexander and Chandra T. Mohanty (London and New York: Routledge 1996), pp. 
Chapter 4. Jigna Desai, "Bombay Boys and Girls: Transnational Gender and Sexual 
Politics in the New Indian Cinema in English" from South Asian Popular Culture 1, 
No. 1, April 2003, pp. 45-61.
Introduction to Section II: Global Cinema in the Digital Age
Chapter 5. Robert E. Davis, "The Instantaneous Worldwide Release: Coming Soon to 
Everyone, Everywhere" from West Virginia University Philological Papers, Vol. 49, 
2002-2003; pp. 110-16. 
Chapter 6. Elana Shefrin, "Lord of the Rings, Star Wars, and Participatory Fandom: 
Mapping New Congruencies Between the Internet and Media Entertainment 
Culture" from Critical Studies in Media Communication 21, No. 3, September 2004, pp. 
Chapter 7. John Hess and Patricia R. Zimmermann, "Transnational Documentary: A 
Manifesto" from an earlier version published in Afterimage 1997 (February): pp. 10-
Introduction to Section III: Motion Pictures: Film, Migration, and 
Chapter 8. Hamid Naficy, ?Situating Accented Cinema? from An Accented Cinema: 
Exilic and Diasporic Filmmaking, Princeton University Press, 2001, pp. 10-39. 
Chapter 9. Peter Bloom, "Beur Cinema and the Politics of Location: French 
Immigration Politics and the Naming of a Film Movement" from Social Identities 
5, No. 4, December 1999, pp. 469-87. 
Chapter 10. David Desser, "Diaspora and National Identity: Exporting 'China' 
through the Hong Kong Cinema" from Post Script: Essays in Film and the Humanities 
20, Nos. 2-3, Winter/Spring/Summer 2001, pp. 124-36. 
Chapter 11. Ann Marie Stock, "Migrancy and the Latin American Cinemascape: 
Towards a Post-National Critical Praxis" from Revista Canadiense De Estudios 
Hispanicos 20, No. 1, Fall 1995, pp. 19-30. 
Introduction to Section IV: Tourists and Terrorists
Chapter 12. Diane Negra, " Romance And/As Tourism: Heritage Whiteness and the 
(Inter)National Imaginary in the New Woman's Film? from Keyframes: Popular 
Cinema and Cultural Studies, Routledge, 2001, pp. 82-97. 
Chapter 13. John S. Nelson, ?Four Forms for Terrorism: Horror, Dystopia, Thriller, 
and Noir? from Poroi 2, No. 1, August 2003. 
Chapter 14. Homi K. Bhabha, "Terror and After. . ." from Parallax 8, No. 1, January-
March 2002, pp. 3-4.

Library of Congress Subject Headings for this publication:

Motion pictures.