Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. Introduction: Global Cinemas in a Time of Networks 1
4. CARTOGRAPHIES, GEOPOLITICS, AESTHETICS
5. 1. BEYOND AND BENEATH THE MAP OF WORLD CINEMA 23
6. 2. FRAME 37
7. 3. ABSTRACTION AND THE GEOPOLITICAL: Lessons from Antonioni’s Trip to China 53
8. 4. THE CITY OF BITS AND URBAN RULE: Media Archaeology, Urban Space, and Contemporary Chinese Documentary 77
9. GLOBAL IDEALITY, HISTORY, REPRESENTATION
10. 5. TOWARD AN ARCHAEOLOGY OF GLOBAL RHYTHMS: Melodie der Welt and Its Reception in France 97
11. 6. WHEN CINEMA WAS HUMANISM 117
12. 7. AFRICAN CINEMA: Digital Media and Expanding Frames of Representation 141
13. 8. CHANGING CIRCUMSTANCES: Global Flows of Lesbian Cinema 159
14. Part III. KINSHIPS, IDENTIFICATIONS, GENRES
15. 9. HERMANO AND LA HORA CERO: Violence and Transgressive Subjectivities in Venezuelan Youth Cinema 181
16. 10. BETWEEN LOVE AND THE MORAL LAW: The Fatal Mother in Park Chan-wook’s Lady Vengeance 199
17. 11. THE QUEER MEXICAN CINEMA OF JULIÁN HERNÁNDEZ 214
18. 12. THE GANGSTER FILM AS WORLD CINEMA 228
19. EPILOGUE 24 FRAMES: Regarding the Past and Future of Global Cinema 244
20. ACKNOWLEDGMENTS 251
21. NOTES ON CONTRIBUTORS 253
22. INDEX 257