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Transnational Cinema: The Film Reader Contents Acknowledgments 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. 183-209. 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. 261-81. Chapter 7. John Hess and Patricia R. Zimmermann, "Transnational Documentary: A Manifesto" from an earlier version published in Afterimage 1997 (February): pp. 10- 14. Introduction to Section III: Motion Pictures: Film, Migration, and Diaspora 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.
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