Cinematic Revolution: Cosmopolitan Alter-cinema of Pre-revolutionary Iran

In the late 1950s, when Iran was witness to the withering away of social norms and everyday practices concomitant with the country's rapid urbanization, a group of young Iranian film directors embarked upon a new cinematic trend, in attempts to screen the ethereal quotidian of Iranian life. Defining itself against what was perceived to be the “cheap” and “repetitive” commercial “Film Farsi” industry of the time, this alternative (alter-)cinema fused the local and global, by incorporating international cinematic elements in socially and politically conscious national films, and projecting them on local and international screens. Problematizing a homogeneous conception of historical time that subsumes the history of cinema into a conventionalized grand narrative of the Iranian 1979 revolution, this article works with a conception of heterogeneous historical time that first interrogates cinematic temporality autonomously and then in relation to the political history of Iran, especially the events of the 1978–79 revolution. This article explores how the distinct cosmopolitan alter-cinema of pre-revolutionary Iran was born from a cinematic rupture in the 1950s, prompted by series of critiques and professional expectations that colored the attention paid to the vernacular and quotidian in film production.     

Film policy under globalization: the case of Mexico

The changing economic and technological conditions often referred to as ‘globalization’ have had a deep impact on the very nature of the state, and thus on the aims, objectives and implementation of cultural policy, including film policy. In this paper, I discuss the main changes in film policy there have been in Mexico, comparing the time when the welfare state regarded cinema as crucial to the construction of national identity, and actively supported national cinema at the production, distribution and exhibition levels (about 1920–1980), and the recent onset of neoliberal policies, during which the industry was privatized and globalized. I argue that the result has been a transformation of film production, from the properly ‘national’ cinema it was during the welfare state – that is, having a role in nation building, democratization processes and being an important part of the public sphere – into a kind of genre, catering to a very small niche audience both domestically and internationally. However, exhibition and digital distribution have been strengthened, perhaps pointing towards a more meaningful post-national cinema.     

Talk to the hand: strategic spatial planning as persuasive storytelling of the Loop City*

The paper analyses how the spatial vision of the Loop City for the Øresund Region has played an important persuasive role in legitimizing and mobilizing local and national political support for a light rail link along the outer ring road in the Greater Copenhagen Area. The paper discusses the persuasive power of spatial concepts and supportive storylines in bringing transport infrastructure projects onto the national policy agenda. In conclusion, the paper calls for critical attention to the rationalities underpinning practices of persuasive storytelling in contemporary strategic spatial planning.     

Empire,Repetition, and Reluctant Subjects: British Home Movies of Kenya, 1928–72

This article examines efforts by a range of British visitors to produce ‘home movies’ or amateur film of Kenya from 1928 to 1972, and attempts by both the British film-makers and Kenyans to navigate and influence this production. By bringing cine-cameras to Kenya to record images to be consumed back in the metropole by family and friends as ‘holiday films’, these British visitors laid bare what a number of historians have identified as the ‘imperial gaze’ that defined both colonial and post-colonial conceptions of Africa. Colonialism’s obsession with ordering and positioning bodies within a projected image of power and control made cinema the perfect vessel for such an exercise, while amateur film, with its often clumsy framing and highly personal interaction between the film-maker and the film subject, grants us unique insight into the sometimes coercive, transactional and forced efforts involved in projecting such an image. The amateur films that sit at the centre of this article, which were produced by British visitors to Kenya both before and after independence, offers us the opportunity to examine the wide range of behaviours of both the film-maker and the filmed which underpinned the production of repetitive imperial image-making in colonial and post-colonial Kenya.     

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.     

W. B. Yeats,the Abbey Theatre,and the Cinema, 1909–1939

ABSTRACT

Given the significance of new technologies to the literary and visual cultures of the early-twentieth century, it is surprising how little has been written about W. B. Yeats and cinema. Viewed by some scholars as emphatically resistant to what he termed “the leprosy of the modern,” Yeats has long been a difficult writer to situate in relation the progressive impulses of modernity. Building on Kevin Rockett’s identification of the parallels between the work of Abbey Theatre and a nascent Irish cinema culture, this article argues that Yeats played a prominent role in early attempts to develop an indigenous film industry, and to cultivate representations of Ireland on screen abroad. During the period I consider, the Abbey Theatre and the film industry were similarly affected by state censorship programmes and various forms of cultural nationalism. Exploring the Abbey Theatre Minute Books and archival materials discovered in Trinity College Dublin, I suggest that Yeats’s Abbey was a shaping force in Irish cinema history, despite the fact that most attempts to create a national cinema met with limited success.     

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.     

Informal governance and the spatial management of street-based sex work in Aotearoa New Zealand

While informality has long been studied as a feature of governance in the global South, a growing range of accounts examine informal governing arrangements as endemic to cities and nations of the global North. This paper contributes to such scholarship by drawing attention to informal practices and mechanisms involved in the spatial management of sex work in the global North. Existing literature on the spatial management of sex work has long emphasised how informality shapes local sex work practices and mediates formal state-based regulation. We synthesise these studies to suggest three modes of informal governance: as component, catalyst and alternative to formal regulation. Through a case study of street-based sex work management in Christchurch, Aotearoa New Zealand, we discuss how informal governance emerged as a de facto component of formal regulation at the national scale and an alternative to formal regulation at the local scale. Specifically, we detail how an ambiguous regulatory environment, combined with highly localised understandings of spatial appropriateness, led to and influenced the informal management of sex work through a community-level partnership between local authorities, residents and sex worker advocates. In doing so, the paper advocates for more attention to the multi-modal and multi-scalar aspects of informal governance.     

Climates of control: Violent adaptation and climate change in the Philippines

This paper considers the limits of adaptation as a concept in global environmental governance and advocacy by examining the climate change policy of the populist Philippine president Rodrigo Duterte. By focusing on heterogenous state responses to the 2018–2019 El Niño drought, I demonstrate how the Duterte administration has worked to achieve a violent vision of climate adaptation through a jarring combination of practices: exhorting the devastating reality of climate change; denigrating multilateral mitigation efforts as colonial injustices; subverting indigenous peoples' land rights; and fostering the extrajudicial assassination of activists. Though Duterte's wider climate change policies are often viewed as a strategic distraction or the isolated product of an erratic populist, I argue that these recent responses to climate change in the Philippines, which fuse decolonial and nationalist sensibilities to confrontational forms of illiberalism, should be examined as part of the larger unfurling of illiberal adaptation politics across Philippine history and the Global South. These politics, and their considerable (though far from total) local resonance, challenge both universalist Western political rationalities and new directions in climate justice movement calling for ontological inclusivity. I highlight the need for a closer examination of the origins, practices and implications of violent adaptions.     

Living with Hollywood: British film policy and the definition of ‘nationality’

Focusing upon how a ‘national’ film has been historically defined in Britain, this article traces the history of legal definitions of a ‘British’ film and identifies some of the issues around nationality that these have raised. The article begins with a discussion of the introduction of quotas for ‘British’ films in the 1920s and the adoption of the Eady levy as a means of providing production finance to ‘British’ films in the post-war period. It then goes on to examine the introduction, in response to EU regulations governing the film industry, of a ‘Cultural Test’ for ‘British film’ in 2007 and to consider the way in which eligibility for tax reliefs has depended upon a film qualifying as ‘British’. In assessing whether the Cultural Test may be regarded as constituting a ‘break’ in British film policy in terms of a shift from economic to cultural objectives, the article not only indicates the manner in which cultural and economic objectives have been brought into alignment but also identifies how the definition of the ‘national’ for the purposes of tax relief has been designed to encourage ‘transnational’ Hollywood production within the UK. In doing so, the article also indicates how ‘national’ discourses and practices have continued to inform and structure the economic and cultural dynamics of contemporary ‘British’ cinema as well as engaging with, rather than necessarily standing in opposition to, ‘transnational’ and globalising trends.     

Reflections on Faith and Film in Hail,Caesar!

While Hail, Caesar! written, directed, and produced by Ethan and Joel Coen initially appears to be merely a light satire of classic Hollywood of the 40s and 50s, it also comments upon several kinds of faith, religious and otherwise. Most obviously, the film humorously critiques the Bible-blockbuster films of the era, as being fairly insincere, manipulative, and too conveniently reconciling of secular, Christian, and Jewish perspectives. But careful examination reveals that four different kinds of faith are dealt with in the film: 1) Christian faith, 2) communist faith, 3) faith in Hollywood, and 4) Jewish faith. The second of these is mercilessly mocked, but the first and third are dealt with more sympathetically. The Bible-blockbuster film, as well as the efforts of the studio fixer Eddie Mannix to cover-over scandas in the lives of not a few of the actors and directors, are both efforts to support a the 1950s cultural consensus. That consensus involves a good deal of hypocrisy, but the Coens present the best case they can for understanding those like Mannix who seek to maintain it, even if they show why it ultimately cannot be. Most interestingly, while the film does little to examine Jewish faith itself, it uses the classic Jewish prohibition of graven images to criticize both Christianity and the basic activity of Hollywood. The film illustrates why the 50s cultural consensus could not hold, and raises troubling questions about the long-term impact of cinema itself.     

Imagining the Diaspora in the New Millennium Comedies of Iranian Cinema

This article examines the genre of comedy in Iranian cinema and explores the various influences on its development and growth. It demonstrates how the roots of recent comedies can be traced back to pre-Revolution commercial cinema (known as filmfarsi) as well as the traditional Iranian comic theatre of taqlid. In particular, it focuses on the depictions of the Iranian diaspora in these comedies. The Iranian diaspora has been imagined and represented frequently in modern Persian culture, often satirically and humorously. More recently, Iranian comedies have provided a new space to imagine, define, criticize and redeem the Iranian diaspora.     

Screening Singapore: The Cinematic Landscape of Eric Khoo's Be With Me

This paper investigates the mutually constitutive relationship between the context of film production and the composition and content of images produced. Singapore film director Eric Khoo is central to our investigation, and his 2005 film Be With Me is a key example of how Singapore's ongoing urban redevelopment to become a world city reflexively shapes the style and appearance of the city‐state projected in the film. Singapore's history as a developmental state, its pervasive influence on the public and private spaces of its citizens, and recent state‐led initiatives to nurture the arts and media sectors all make it an ideal site to examine the relations between the cinema and space. Be With Me also lends itself to spatial analysis as its mise‐en‐scène is a geography of the life course: particular parts of the city are ‘cast’ as spaces of youth, middle, and old age. We elaborate how the landscapes deployed in the film are simultaneously constituted through state policies, mise‐en‐scène, and gender/age/class considerations. In so doing we show how Khoo's vision of the city‐state has altered since his emergence as a film director in the 1990s: from an oppressed site of hyper‐modernity to a more ambivalent ‘globalised’ built environment in which marginalised or liminal urban spaces for sensuous life and hope for human connection can be experienced.     

From Paper to Celluloid and Back Again: Finance and Form in Jorge Délano’s Films

This essay argues that our current understanding of the cinematic work by the pioneering Chilean film director Jorge Délano obscures a sophisticated interaction between politics, art and economics, one that reveals unexamined aspects of how the film industry developed in Chile. Most notably, it argues that Délano’s illustrated political satire magazine Topaze was central to the development of early sound cinema in the country. Following Rielle Navitski, the essay utilizes and examines tensions between models drawn from periodical studies and the concepts of remediation and intermediality in film studies. Examining illustrations from the first three years of Topaze’s production (1931–1933) in the context of the country’s economic situation, the essay argues that Délano remediated cinema in Topaze as a strategy of capital accumulation. This analysis also makes it possible to see how one of his sound films, Escándalo (1940), similarly remediated the illustrated paper periodical as he pursued financing for the production of cinematic commodities for export. The essay ends by examining the relationship between these issues and the political situation in early Cold War Chile.     

Spatial Tactics in Criminal Courts and the Politics of Legal Technicalities

This paper documents court‐imposed bail and sentencing conditions with spatial dimensions, such as red zones, no contact conditions, curfews and prohibitions to demonstrate, issued in the context of criminal proceedings. These conditional orders, which are growing in importance and have a significant impact on the lives of marginalized groups of people, have not received the attention they deserve in the literature. As opposed to better publicized forms of spatial regulation such as legislation or policing strategies, these conditional orders are a distinctive form of spatial tactic that rely on ancient and routinized rules of criminal procedure and the practices of the courts. In order to understand this spatial tactic, and its impact on marginalized people's rights and uses of spaces, we argue that it is necessary to pay attention to the legal rationalities, knowledge and practices that sustain them.     

Iranian Cinema in the Twentieth Century: A Sensory History

This essay addresses itself to the century long history of cinema in Iran, focusing on the history of the senses as they combine with and are extended by film technologies. It argues that Khomeini's aim was to produce a transformed and Shi'ite Iran by purifying the sensorial national body by means of film technologies.     

Engineering space and time: moving pictures and motionless trips

The paper investigates the ‘motionless trips’ enabled by 19th-century visual technologies such as the magic lantern, phantasmagoria, panorama, and diorama. Although these technologies are often held to have culminated with the appearance of animated photography (film) in the 1890s, we argue that they possessed their own autotelic significance. Paralleling the transformations wrought upon reality by cultures of transport such as the railway, the visual attractions referred to here also reconfigured reality. For whilst they were frequently employed to simulate the transportation of the spectator not only to distant locations but also through time, the most profound journey these developments accomplished was a voyage into the abstract fabric of space and time itself. The abstraction of space and time as a material independent of actuality, and its re-engineering into new configurations, was eventually perfected in the cinema: a space-and-time machine that spliced together the ‘mobility’ of the magic lantern, Phenakistiscope, and Praxinoscope; the ‘space-lapse’ of the panorama; the ‘time-lapse’ of the diorama and chrono-photography; the realism of photography; and the haptical obscenity of the stereoscope.