1 Site 2: Style and Encounter in Rithy Panh’s Cinéma-monde

Chapters in this book

1. Frontmatter i
2. Contents v
3. List of Figures vii
4. Notes on Contributors ix
5. Acknowledgements xiv
6. Introduction: The Kaleidoscope of Cinéma-monde 1
7. Part I From Local to Global: The Cinéma(s)-monde(s) of Auteurs and Actors
8. 1 Site 2: Style and Encounter in Rithy Panh’s Cinéma-monde 25
9. 2 Globalisation, Cinema and Terrorism in Rachid Bouchareb’s Films: London River, Baton Rouge and Little Senegal 45
10. 3 Guerrilla Filmmaking with Rachid Djaïdani 65
11. 4 Globalisation, Cinéma-monde and the Work of Abderrahmane Sissako 85
12. 5 The Career of Actress Hafsia Herzi: Crossing Borders, Challenging Barriers 110
13. Part II Voyages, Limits and Borders
14. 6 Lost at Sea or Charting a New Course? Mapping the Murky Contours of Cinéma-monde in Floating Francophone Films 131
15. 7 The Beautiful Fantasy: Imaginary Representations of Football in West African Cinema 155
16. 8 Merry Christmas in No Man’s Land: European Borders, Language Barriers and Front Lines in Christian Carion’s Joyeux Noël 175
17. 9 An Ostrich, a Backhoe and a few Ski-Doos: Tracking the Road Movie in Quebec and Beyond 192
18. 10 Accented Mappings of France in a Globalised World: Le Havre (2011) and Samba (2014) through the Lens of Cinémamonde 216
19. Part III Hubs and Spheres of Production
20. 11 Activist Cinéma-monde in Paris: Filming Foreigners in the French Capital 239
21. 12 Cinema Made in Liège: A ‘Hub’ of Francophone Belgian Filmmaking 257
22. 13 ‘Images of Diversity’: Film Policy and the State Struggle for the Representation of Difference in French Cinema 282
23. 14 Youth and Média-engagé: Is This West Africa’s Heterolinguistic Cinéma-monde? 304
24. Epilogues
25. Worlds Within; In the World 323
26. Cinéma-monde as a Call to Arms 336
27. Cinéma-monde and the Transnational 341
28. Index 357