ABSTRACT

This new book investigates the relationship of film to history, power, memory, and cultural citizenship. The book is concerned with two central issues: firstly, the participation of film and filmmakers in articulating and challenging projects of modernity; and, secondly, the role of film in shaping particular understandings of self and other to evoke collective notions of belonging. These issues call for interdisciplinary and multi-layered analyses that are ideally met through dialogue across place, time, identities and genres. The contributors to this volume enable this dialogue by considering the ways in which cultural expression and identity expressed through film serve to create notions of belonging, group identity, and entitlement within modern societies.

chapter 1|14 pages

Introduction

part I|81 pages

Producing national and transnational imaginaries

chapter 2|13 pages

Negotiating mobile subjectivities

Costume play, landscape, and belonging in the colonial road movies of Shimizu Hiroshi

chapter 3|16 pages

Moore’s utopia

Canada in the cinematic imagination of Michael Moore

chapter 4|14 pages

Seeing Beneath the Veil

Saira Shah and the problems of documentary

chapter 6|15 pages

Transnational communities of affinity

Patricio Guzmán’s The Pinochet Case

part II|60 pages

Historical feeling in the sites of production

chapter 7|13 pages

Moving intimacy

The betrayals of a mother called “Yesterday,” a child called “Beauty,” and a father called John Khumalo 1

chapter 8|18 pages

Queer grit

Jane West rides through the violence of the Hollywood Western

chapter 10|14 pages

Memory, affect, and personal modernity

Now, Voyager and the Second World War

part III|74 pages

The culture of film and the production of history

chapter 12|19 pages

The Battle of Algiers

Pentagon edition

chapter 14|18 pages

Abderrahmane Sissako

Les lieux provisoires of transnational cinema