Territorial Appeals in Post‐Wall German Filmmaking: The Case of Good Bye,Lenin!

Abstract: How do institutions, markets, and stakeholders influence what stories are feasible and profitable for filmmakers to tell? This article discusses appeals to territorial interest and identity in filmmaking in post‐wall Germany and the conditions that shape them. By tracing the emergence of the film Good Bye, Lenin! (2003), we see how the project accumulated support from some territories and not others; how filmmakers persuaded colleagues and critics of their interpretation's legitimacy; and how individuals and institutions shape how the film would be used and remembered. My objective is to draw attention to the messiness and uncertainty as multiple stakeholders align, contest, or subsume competing appeals that would be otherwise invisible in a “finished” film. Addressing those interested in the geopolitics of cultural production, the article argues for more attention to the behind‐the‐scenes negotiations in funding, production, and distribution processes in order to keep issues of power and dependence visible.     

Chinese migrants,morality and film ethics in Italian cinema

During 2004–2011, Italian cinema intervened in the ongoing public debates about Chinese immigration to Italy with 15 notable films, which provided a window into the moral and ethical practices of the filmmakers and those of the fictional characters, or interviewees, in their films. This migratory phenomenon, in turn, offered filmmakers a variety of stimuli and perspectives from which to contemplate the moral stakes in screening Chinese migrants in Italy in films. Italian-Chinese films, insofar as they address the self–other relationship, lend themselves to an ethical analysis. I show that Italian documentary films genuinely feature the lives of Chinese migrants through restrained and socially conscious creative means. In contrast, relevant feature films often center on the plight of marginalized native Italian characters, adopting artistic license appropriate to their market-oriented production ethos.     

Elizabeth Wiskemann and the Sudeten Question: A Woman at the ‘Essential Hinge’ of Europe

Abstract

The film Somewhere in Europe articulates a vision of the political future of post-World War II Europe. War orphans are depicted as the agents of the continent’s reconstruction. The Marxism embodied in the film challenges the Soviet-style Communism soon to be imposed in Eastern Europe, and stylistically Somewhere in Europe distances itself from Socialist Realism. It assumes the role of a foundational film for the recently rebuilt Hungarian film industry and aims to provide the emerging generation of Hungarian filmmakers with an inventory of the major cinematic styles of the first half of the century.     

The deterioration of relations: from support to severance

This article seeks to understand the place of the Russian immigrant community in the larger Israeli culture and to explore how immigrants themselves negotiate their position. One site of such negotiation is the film Paper Snow (2003) created predominantly by Russian-Israeli filmmakers. Their distinct vantage point emerges through the film's casting, genre, style, and language. Paper Snow features such iconic figures of Israeli culture-in-the-making as actress Hanna Rovina and poets Alexander Penn and Avraham Shlonsky, but represents them as part of the Russian intelligentsia. In this way, the film adheres to the familiar story of nation building, but tells it with an accent: by emphasizing the Russianness of the Israeli national past, the film inscribes contemporary Russian immigrants onto the grand narrative of the nation. By revising the official collective memory, Paper Snow produces accented memory.     

Genocide documentary as intervention

Gifted filmmakers such as Joshua Oppenheimer, director of The act of killing, are attempting to use the power of documentary to provoke social and political change in post-conflict settings. What roles do interventionist filmmakers play in processes of national reconciliation and transitional justice? Can The act of killing really be a catalyst for change in Indonesia? This article contends that the genocide documentary is a form of antagonistic intervention that warrants systematic and critical re-evaluation. It holds that claims regarding the remedial impact of documentaries such as The act of killing are difficult to substantiate, the main problem being attribution, cause and effect. Intervention in the mind of the director seems to follow the logic of a synchronous circuit, where trauma based on revealed truth leads to transitional justice. Each component in the circuit has a corresponding political argument. This article will examine three interrelated arguments linking genocide documentary and political intervention: (1) re-traumatization, (2) power-laden truths and (3) the narrowing of impunity gaps. This article contributes to debates about genocide and intervention by presenting evidence from Indonesia, including rare interviews with the protagonists in Oppenheimer's award-winning film, surveys of Indonesian audiences and data gathered from a global online petition as well as Chinese microblogs in order to better understand how audiences respond to genocide documentaries and why it is so difficult to generate political action outside the theatre.     

UN americano a Roma: A 1950s’ satire of Americanization

The satirical film, Un americano a Roma is examined as a commentary on the absorption by Italians, and especially Italian youth, of fads and fashions deriving from America during the economic boom. Although no masterpiece, the film is an important reflection on Italian identity at a time of rapid and bewildering change. It reveals that, while America became ‘everyone's second culture’, loyalty to domestic traditions and customs remained strong.     

The Chinese–Korean co-production pact: collaborative encounters and the accelerating expansion of Chinese cinema

Official film co-production treaties are designed by policymakers to stimulate a range of collaborations, technology transfers, and joint funding initiatives in the industry. Since July 2004, the Chinese government has used this top-down approach to cultural diplomacy as a symbolic tool for advancing Chinese cinema and opening the domestic market to a host of willing international partners. Korean filmmakers in particular have exploited the (often informal) opportunities presented, engaging in vigorous cooperation with Chinese colleagues across all sectors of the production ecosystem. The continuing flow of Chinese–Korean transnational film encounters, underpinned by influential personal networks, resulted in the signing of a formal China–Korea co-production agreement in July 2014. To examine the efficacy of this policy intervention, this article analyzes the diversity of film collaboration that preceded this agreement and its impact on transnational filmmaking in China. It investigates the strategies used in the remaking of Korean auteur Lee Man Hee’s 1966 melodrama Late Autumn (2010), technical innovation in the VFX-heavy Mr. Go (2013), and the making of mega-distributor CJ E&M’s romance drama A Wedding Invitation (2013) to illustrate how Korean firms and practitioners are expanding the commercial entertainment boundaries of Chinese cinema. In so doing, it also reveals how Chinese film companies are enabling the Korean film industry to internationalize its approach to overseas markets beyond the kind of conspicuous policy initiatives tailored for a globalized cultural economy.     

L’Économie de la Création le Financement du Film Documentaire

The study of the financing of documentary films in France by its two main sources (TV channels and the film industry) enables us to uncover the conditions of possibility of the autonomy of filmmakers. It reveals an opposition between two patterns: a logic of “flows” within the audiovisual circuit (television) and a logic of “scarcity” within the film circuit, completed by new forms of financial support.     

Chinese Queer Images on Screen: A Case Study of Cui Zi’en’s Films

The image of Chinese LGBT (lesbian, gay, bisexual and transgender) is largely absent from the big screen under the Chinese Communist Party’s censorship control. Taking advantage of the now cheaply available digital-video (DV) technology, queer activist and filmmaker Cui Zi’en has produced more than 10 LGBT-themed films since 2002, which shows the momentum of Chinese independent DV filmmaking. Although circulated mainly underground in China and at international film festivals, Cui’s films seek to promote the visibility of Chinese LGBT by representing queer diversity in this community. As the only filmmaker consistently dealing with LGBT themes and experimenting with new film techniques in China, Cui employs unconventional film aesthetics, featuring extreme long takes, unstable camerawork and minimal narrative, to challenge the oppression of Chinese LGBT by heteronormative conventions, as embodied by state power and a patriarchal social order. Furthermore, facilitated by DV technology, Cui adapts Western New Queer Cinema to the Chinese context, which brings a new dimension to Chinese cinema. In China’s restrictive political environment, Cui, like many other independent filmmakers, uses moving images to challenge official interpretations of social realities in contemporary China.     

Performing post-migration cinema in Italy: Corazones de Mujer by K. Kosoof

Following consideration of the most common representations of migrants in Italian cinema, where they are often portrayed as victimised and minor subjects, this article analyses a film by Davide Sordella and Pablo Benedetti, Corazones de Mujer (2008) as a ‘post-migration alternative’. This film considers a different way of depicting ‘foreigners’, and addresses the complex issues of gender and sexuality as they emerge at the interface between Western and Arab cultures. Within the conceptual framework of Judith Butler's ‘gender performativity’ and Rosi Braidotti's ‘nomadic subject’, this article aims to suggest an alternative way of representing migrants in Italian cinema as agents of social and gender transgressions.     

Maciste goes to war: Maciste alpino (1916)

During the war years, both fiction and non-fiction films relating to the war populated Italian screens. This article examines Maciste alpino (1916), one of the best known and best received of the popular Maciste series of Italian silent cinema, in light of several factors: the growing nationalist movement that saw intervention in World War I as the means of creating political consensus; the sophistication and development of narrative, character, and attractions in the Maciste series; and its relation to popular film genres such as comic serials and the emerging strongman genre. Maciste functioned as a modern weapon par excellence, a Futurist mechanized man whose muscled body constituted its own fighting machine. At the same time, through his humor, goodwill, and muscled physique he became a national symbol of Italian wartime might.     

Policy and creative strategies: Hong Kong CEPA films in the China market

Abstract

This article examines the creative strategies of Hong Kong Closer Economic Partnership Arrangement (CEPA) films in engagements with the China market under the framework of CEPA introduced in 2004. One of the aims of CEPA for the film sector is to boost co-production between Hong Kong and the mainland. In the past 10 years, CEPA has dramatically changed Hong Kong cinema’s relationship with China in that major film directors have moved to produce CEPA films to tap into the rapidly growing mainland market. This shift has been considered as part of HKSAR’s overall mainlandization and subsequent disappearance of a distinct local identity. This article revisits this view by presenting two case studies to see if indeed Hong Kong CEPA pictures are devoid of Hong Kong elements. The case studies analyze textual elements of two CEPA blockbuster films, The Mermaid (dir. Stephen Chow, 2016) and The Taking of Tiger Mountain 3D (dir. Tsui Hark, 2014). Citing the intertextual allusions to the directors’ old works seen in these two films, the authors argue that the market advantage granted by the CEPA scheme in effect allowed Hong Kong filmmakers to revive and extend signature creative strategies of Hong Kong cinema, despite censorship constraints.     

De Gilles Groulx à Jean-Marc Vallée: Transnationalisme,Américanité et Territoire dans le Cinéma Québécois

As a recent phenomenon which strongly resonates with a transnationalism that can be understood as a desire to transcend both physical and cultural borders, the exile of Québécois filmmakers to Hollywood raises issues surrounding the notions of identity and territory that are relevant to Québec politics and cinema. This vast migration of successful filmmakers who are invading Hollywood with their Québécois imprint allows us to revisit the notions of Americanness (américanité) and territory, at a time where globalization and cultural diversification are blooming. In order to better explore those issues, we will retrace the evolution of the notion of Americanness in Québec films produced at various periods of time. Likewise, the study of the more recent works of Québécois director/auteur Jean-Marc Vallée will allow us to discover the director’s diversified representations of contemporary American dreams and landscapes.     

Poetic child realism: Scottish film and the construction of childhood

With this essay I suggest a move towards poetic realism in the representation of children in Scottish movies. After a brief discussion of the landscape context of film geographies I turn to the roots of Scottish film realism in British Free Cinema, with specific reference to filmmakers’ use of landscape and place‐characters. I then argue that Scottish filmmaker Lynne Ramsay moves most fully towards the context of poetic child realism. Ramsay frames and foments a quirky poetic realism with non‐professional child actors placed in carefully crafted landscapes to create important moral and social stories that evolve from a series of shocks and an emotive collision of ideas.     

The camera goes down the streets. Dans les rues (Victor Trivas, 1933) and the Paris of the German émigrés

Marcel Carné's important clarion call to 1930s French cinema 'to take the camera down the streets' was uniquely troubled by the arrival of waves of German émigré filmmakers in the French capital. This article uses one émigré film set in Paris, Dans les rues (Victor Trivas, 1933), as a case study to discuss both the place of the city and the place of the outsider in cinematic cultural representation during this decade. It argues that despite right-wing critical discourse linking Jewish culture with the ill effects of city life, a film like Dans les rues can be seen as an important turning point in the on-screen depiction of Paris. Trivas's film may have looked backwards to 19th-century convention, but, at the same time, it responded uniquely to Carné's concerns to produce an important, though largely neglected, early example of poetic realism.     

Multi/Interdisciplinary investigations into Italy and World War I: An introduction

This introductory article details some of the main points that characterized Italian politics and culture in the period leading up to World War I and during the war itself, and then surveys the contributions of each article in this series that further investigates the period. The authors note the febrile nature of Italian domestic politics before the war which challenged traditional liberal parliamentarism. This political challenge was accompanied by a challenge to traditional art, and no movement epitomized these twin challenges to the old order like Futurism. Yet, though the Futurists and other nationalist groups glorified war and helped push Italy into the conflict, the country was hardly united. In fact, the hope was that war would finally unify the nation and erase the shame of Italy’s lackluster military performances since unification. As such, Italy’s cultural experience of the war was somewhat unique, in that the desire to prove its martial valor did not lead to the level of denunciations that other nations’ artists and writers produced – though there were some critics. Ialongo’s article traces the Futurist contribution to this pro-war ethic. Reich shows how the popularity of the Maciste alpino film during the war built upon this desire to unify the nation behind the war. And Palanti’s analysis of the post-war film Umanità notes that there were critics in Italy willing to challenge the cult of war.     

Unmaking the fascist man: masculinity,film and the transition from dictatorship

This essay examines the recasting and renegotiation of Italian masculinity during the war and during the transition from dictatorship to democracy. Film is my privileged source for understanding the complexities of male experience during this period of dramatic change, but I also rely on war crimes charges, diaries and memoirs. While not explicitly comparative in nature, the essay considers whether we can speak of a ‘crisis of masculinity’ in postwar Italy akin to that diagnosed by historians of postwar Germany and France. Within this broad frame, the essay focuses the experiences and representations of one category of men who evoked particular anxieties about the legacies of defeat and the redemption of Italian men for democratic models of fatherhood and citizenship: veterans, in particular returned prisoners of war. The 1946 film Il bandito (The Bandit, Alberto Lattuada), which I analyze in the last section of the essay, dramatizes the situation of these returned prisoners and the problem of a generation of men raised according to fascist norms that linked masculinity to the performance of aggressive acts.     

TRANSNATIONAL COLLABORATIONS, LOCAL COMPETITIVENESS: MAPPING THE GEOGRAPHIES OF FILMMAKING IN/THROUGH HONG KONG

ABSTRACT. Through the Global Production Networks (GPN) analytical lens, this paper shows how politico-economic developments in China, Taiwan and Southeast Asia are instrumental in developing Hong Kong as a premier filmmaking centre, and how Hong Kong-based filmmakers have to weave new cross-scalar production networks and target new markets so as to remain competitive. The broader objective of the paper is to contribute to extant debates on urban-based, cluster-driven policies by showing how cities, in developing their industrial capacities, need not necessarily be in competition with other places at different geographical scales. Rather, as the empirical materials evince, cities should collaborate to compete. Apart from the presentation of available historical and statistical materials, the discussion is informed by twenty-seven in-depth interviews with Hong Kong-based film workers, government agency executives and film industrial association heads, as well as an interview with a Singapore-based film producer with ongoing production linkages with Hong Kong-based film production companies.