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Panoptic Vision: Disjuncture, Transgressions, And Imagination In Laila Marrakchi’S Film Rock The Casbah, Touria Khannous
Panoptic Vision: Disjuncture, Transgressions, And Imagination In Laila Marrakchi’S Film Rock The Casbah, Touria Khannous
Journal of Global Initiatives: Policy, Pedagogy, Perspective
This article focuses on Laila Marrakchi’s film Rock the Casbah (2013), which reflects the exchange between global and local cultural and sociopolitical ideologies of a new Morocco. The film highlights the contradictions of globalization as it occurs through disjuncture. Arjun Appadurai’s theory of the world in motion and “a world of flows” provides a relevant framework for this analysis. The article uses Appadurai’s notion of “disjuncture” as a theoretical framework to discuss the dynamics and interrelationships involved in the protagonist’s movement between Western mediascapes as a filmstar and her Moroccan family’s local context. Appadurai’s conceptualization of globalization is crucial for …
A Brief Historical Account Of Trends In Contemporary Peruvian Cinema, Sebastián Pimentel
A Brief Historical Account Of Trends In Contemporary Peruvian Cinema, Sebastián Pimentel
Journal of Global Initiatives: Policy, Pedagogy, Perspective
This essay is an overview of the thematic and stylistic tendencies in Peruvian cinema starting with the work of Armando Robles Godoy. It also focuses on the effect of the Law 19327 of 1973 , which was responsible for the formation of a group of influential filmmakers led by Francisco Lombardi. At the beginning of the 21st century, female directors like Claudia Llosa and Rosario Garcia Montero achieved recognition for their cinematic visions of a traumatic Peruvian past. The Vega brothers and Gianfranco Quatrinni also contribute with their styles to an existential sntdy of the Peruvian identity. From the provinces …
Kazoku Cinema, Chunhyang And Postmodern Korean Cinema, Hyangsoon Yi
Kazoku Cinema, Chunhyang And Postmodern Korean Cinema, Hyangsoon Yi
Journal of Global Initiatives: Policy, Pedagogy, Perspective
This article examines the salient characteristics of two representative postmodern Korean films from the late 1990s: Park Chulsoo's Kazoku Cinema (1998) and Im Kwon-Taek's Chunhyang (2000). Im and Park are veteran filmmakers who developed their directorial careers in the mainstream commercial film and television industries. In the 1990s, however, they decided to turn from the conventional mode of cinema to a more experimental form of film. These shifts resulted in a series of self-reflexive films. Kazoku Cinema is structured in terms of a film-within-a-film. Park's metacinematic treatment of the movie-making process for a dysfunctional Korean-Japanese family showcases his effort to …