Transnational Crime Cinema / / ed. by Sarah Delahousse.

• Superior document: Title is part of eBook package: De Gruyter EBOOK PACKAGE Arts 2023
• MitwirkendeR: Alpert, Jennifer,; Berns, Fernando Gabriel Pagnoni,; Delahousse, Sarah,; Gashi, Jonida,; Khanjani, Ramin Sadegh,; Martínez, David Rodríguez,; Odabasi, Eren,; Raj, Sony Jalarajan,; Risner, Jonathan,; Ryan, Connor,; Sedzielarz, Aleksander,; Sim, Jiaying,; Sreekumar, Rohini,; Watson, Julianna Blair,
• HerausgeberIn: Delahousse, Sarah,
• Place / Publishing House: Edinburgh : : Edinburgh University Press, , [2022]; ©2023
• Year of Publication: 2022
• Language: English
• Physical Description: 1 online resource (268 p.) :; 48 B/W illustrations

Contributes a genealogical approach to debates on critical transnationalismDemonstrates that representations of crime in cinema are part of an ongoing recognition and reordering of relations of power at the levels of individual, collective, and stateOffers new angles on the work of a diverse set of directors and films connected through an attraction to crime narrativeTracks the changing scope and influence of transnational crime through studies of changing patterns of production moving through film, video and digital streaming that reveal cinema’s place within larger transnational structural and economic changeContains original research on social, political, and economic aspects of popular film that connects to topics in cultural studies, area studies (especially Latin America, the Balkans, South and East Asia, and the Middle East), and new media studiesOffers a theory of filmic transnationalism in which cinema has coevolved with a neoliberal order of government actors and criminal organizations, as well as oligarchic and corporate regimesFramed by approaches in critical transnationalism, this volume examines crime as a cinematic mode moving within, between, and across national cinemas to provide rigorous accounts of the political, economic, and historical processes entangled in the production, circulation, and reception of crime films most frequently treated through the lens of genre.Filmic narratives of crime open a porous space of public discourse in which filmmakers and audiences project and reimagine relations of power. Transnational Crime Cinema studies the production and reception of films from Europe, Africa, East and South Asia, and South America present crime as a discursive site where the terms of the nation and cinema gain new definition.Considered transnationally, crime cinema is a self-reflexive modality through which cinema reflects upon cinema’s own discursivity while audiences negotiate ideologies and imaginaries of nation against disruptive transnational economic and political pressures.

Table of Contents

Frontmatter -- CONTENTS -- FIGURES -- Notes on Contributors -- Acknowledgements -- Introduction: Transnational Crime Cinema -- SECTION I TRANSCRIPTION -- 1. Illuminating the Black Film: The Weimar Origins of the Argentine Policial, the Curious Case of ‘El Metteur’ James Bauer and Crime as Transnational Signifier -- 2. Retracing Mafia Locality -- 3. Funhouse Noir: Escapist Expressionism in Samuel Khachikian’s Delirium -- SECTION II TRANSGRESSION -- Part I On the Boundaries of Nation and Ideology: Criminal Heroes at the Discursive Limits of Genre, Gender and the Body -- 4. Crime without Borders: Marginality and Transnational Power in Jacques Audiard’s Un prophète -- 5. Three Crime Films by Jia Zhangke: A Transnational Genealogy of Social and Personal Turmoil -- 6. Tit for Tat: Avenging Women and Self-fashioning Femininity in Malayalam Cinema -- Part II Modes of Transgression vis-à-vis State Repression and Violence -- 7. Communist Noir: The Hunt for Hidden Traitors, Saboteurs, Spies, Revisionists and Deviationists in Albania’s Revolutionary Vigilance Films of the 1970s and 1980s -- 8. The Case of the Spanish Gialli: Crime Fiction and the Openness of Spain in the 1970s -- 9. The Short Arm of the Law: The Post-dictatorship Crime Film as a Barometer for Justice in Contemporary Argentina -- SECTION III TRANSVALUATION -- 10. Franchising the Female Hero: Translating the New Woman in Victorin Jasset’s Protéa (1913), France’s First Female Spy Film -- 11. Shirkers (2018) Lost and Found? Tracing Transsensorial Trauma in a True-crime Road Movie -- 12. Gated Crimes: Neoliberal Spaces and the Pleasures of Paranoia in Las viudas de los jueves (2009) and Betibú (2014) -- 13. Ensemble of Experts: Relentless as ‘Nigerian Noir’ -- Postscript Desires for Transit and Mobile Genealogies of Popular Cinema -- INDEX