Skip to main content Accessibility help
×
Hostname: page-component-586b7cd67f-vdxz6 Total loading time: 0 Render date: 2024-11-28T13:16:58.807Z Has data issue: false hasContentIssue false

17 - Cinema as Intercultural Communication

from Part III - Methods

Published online by Cambridge University Press:  18 February 2020

Guido Rings
Affiliation:
Anglia Ruskin University, Cambridge
Sebastian Rasinger
Affiliation:
Anglia Ruskin University, Cambridge
Get access

Summary

Joanne Leal’s chapter investigates how far and how exactly cinema is able to offer a representational counterbalance to conservative notions of national belonging and exclusionary constructions of what social cohesion should mean. It considers these issues mainly within a Western European framework, asking what film can do to promote intercultural sensitivities within contemporary European contexts in which attitudes to the impact of globalization and particularly the transnational movement of people are often ambivalent and sometimes actively hostile. In particular it examines critical assessments of the positive intercultural impact of watching foreign cinema, the possible political effects of films which encourage empathetic responses to transnational tales contained in generically familiar forms and the critical potential of two kinds of film which uses less conventional cinematic means to represent a globalized social world.

Type
Chapter
Information
Publisher: Cambridge University Press
Print publication year: 2020

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

References

Akin, F. (2007). The Edge of Heaven (original German: Auf der anderen Seite). Germany, Turkey and Italy: Anka Film.Google Scholar
Bennett, B. (2016). Ignorance and inequality: teaching with transnational cinema. In Marciniak, K. and Bennett, B., eds, Teaching Transnational Cinema. Politics and Pedagogy. London and New York: Routledge, pp. 3958.Google Scholar
Brecht, B. (1963). Anmerkungen zur Oper ‘Aufstieg und Fall der Stadt Mahagonny (1930). In Brecht, B., ed., Schriften zum Theater 2 1918–1933. Frankfurt am Main: Suhrkamp, pp. 109–26.Google Scholar
Crozet, C. and Liddicoat, A. J. (1999). The challenge of intercultural language teaching: engaging with culture in the classroom. In Lo Bianco, J., Liddicoat, A. J. and Crozet, C., eds., Striving for the Third Place: Intercultural Competence through Language Education. Melbourne: Language Australia, pp. 113–25.Google Scholar
Desser, D. (2012). Teaching Japanese cinema. In Fischer, L. and Petro, P., eds, Teaching Film. New York: Modern Language Association of America, pp. 134–44.Google Scholar
Ezra, E. and Rowden, T. (2006). General introduction: what is transnational cinema? In Ezra, E. and Rowden, T., eds., Transnational Cinema: The Film Reader. London and New York: Routledge, pp. 112.Google Scholar
Fassbinder, R. W. (1974). Ali: Fear Eats the Soul (original German: Angst essen Seele auf). West Germany: Filmverlag der Autoren.Google Scholar
Frears, S. (2002). Dirty Pretty Things. UK: BBC.Google Scholar
Gibson, S. (2006). Border politics and hospitable spaces in Stephen Frears’s Dirty Pretty Things. Third Text, 20(6), 693701.Google Scholar
Gilroy, P. (2007). Shooting crabs in a barrel. Screen, 48(2), 233–5.Google Scholar
Hall, S. (1989). Cultural identity and cinematic representation. Framework: The Journal of Cinema and Media, 36, 6881.Google Scholar
Haneke, M. (2000). Code Unknown (original French: Code inconnu: Récit incomplete de divers voyages). France, Austria and Romania: Arte France Cinéma.Google Scholar
Haneke, M. (2005). Hidden (original French: Caché). France, Austria and Germany and Italy: Les Films du Losange,Google Scholar
Higson, A. (1996). The heritage film and British cinema. In Higson, A., ed., Dissolving Views: Key Writings on British Cinema. Bloomsbury: London and New York, pp. 232–48.Google Scholar
Higson, A. (2006). The limiting imagination of national cinema. In Ezra, E. and Rowden, T., eds., Transnational Cinema: The Film Reader. London and New York: Routledge, pp. 1525.Google Scholar
Hudson, H. (1981). Chariots of Fire. UK: Twentieth Century Fox.Google Scholar
Ivory, J. (1992). Howards End. UK, Japan and USA: Merchant Ivory Productions.Google Scholar
Lean, D. (1985). A Passage to India. UK and USA: EMI Films.Google Scholar
Lykidis, A. (2016). A pedagogy of humility: teaching European films about immigration. In Marciniak, K. and Bennett, B., eds, Teaching Transnational Cinema. Politics and Pedagogy. London and New York: Routledge, pp. 5977.Google Scholar
Marciniak, K. and Bennett, B. (2016). Introduction: teaching transnational cinema; politics and pedagogy. In Marciniak, K. and Bennett, B., eds, Teaching Transnational Cinema. Politics and Pedagogy. London and New York: Routledge, pp. 135.Google Scholar
Marks, L. U. (2000). The Skin of Film: Intercultural Cinema, Embodiment, and the Senses. Durham and London: Duke University Press.Google Scholar
McCarthy, T. (2007). The Visitor. USA: Groundswell Productions.Google Scholar
Meirelles, F. and Lund, K. (2002). City of God. Brazil and France: O2 Filmes.Google Scholar
Moodysson, L. (2002). Lilja 4-ever. Sweden and Denmark: Film i Väst.Google Scholar
Patterson, S. F. (1999). Fassbinder’s Ali: Fear Eats the Soul and the expropriation of a national ‘Heim’. Post Script: Essays in Film and the Humanities, 18(3), 4657.Google Scholar
Pegrum, M. (2008). Film, cultural and identity: critical intercultural literacies for the language classroom. Language and Intercultural Communication, 8(2), 136–54.Google Scholar
Rawle, S. (2018). Transnational Cinema: An Introduction. London: Palgrave.Google Scholar
Rings, G. (2016). The Other in Contemporary Migrant Cinema: Imagining a New Europe? Abingdon, UK and New York: Routledge.Google Scholar
Rings, G. (2017). Transkulturelle Ansätze im Neuen Deutschen Film. Zur Grenzauflösung in Fassbinders ‘Angst essen Seele auf’ (1974). In Alkin, Ö., ed., Deutsch-Türkische Filmkultur im Migrationskontext. Wiesbaden: Springer, pp. 4572.Google Scholar
Shoard, C. (2002). Call me a sentimental idiot. Sunday Telegraph, 3 December. www.telegraph.co.uk/culture/film/3586590/Call-me-a-sentimental-idiot.html (last accessed 22 August 2018).Google Scholar
Shohat, E. (2006). Post-third worldist culture: gender, nation, and the cinema. In Ezra, E. and Rowden, T., eds., Transnational Cinema: The Film Reader. London and New York: Routledge, pp. 3956.Google Scholar
Shohat, E. and Stam, R. (1994). Unthinking Eurocentrism: Multiculturalism and the Media. New York: Routledge.Google Scholar
Sirk, D. (1955). All That Heaven Allows. USA: Universal International Pictures.Google Scholar
Stoehr, K. L. (2010). Haneke’s secession: perspectivism and anti-nihilism in Code Unknown and Caché. In Grundmann, R., ed., A Companion to Michael Haneke, Malden, MA and Oxford: Wiley Blackwell, pp. 477–94.Google Scholar
Vidal, B. (2012). Heritage Film: Nation, Genre and Representation. London and New York: Wallflower.Google Scholar
Wheatley, C. (2009). Michael Haneke’s Cinema: The Ethic of the Image. New York and Oxford: Berghahn.Google Scholar
Winterbottom, M. (2002). In This World. UK: The Film Consortium.Google Scholar

Save book to Kindle

To save this book to your Kindle, first ensure [email protected] is added to your Approved Personal Document E-mail List under your Personal Document Settings on the Manage Your Content and Devices page of your Amazon account. Then enter the ‘name’ part of your Kindle email address below. Find out more about saving to your Kindle.

Note you can select to save to either the @free.kindle.com or @kindle.com variations. ‘@free.kindle.com’ emails are free but can only be saved to your device when it is connected to wi-fi. ‘@kindle.com’ emails can be delivered even when you are not connected to wi-fi, but note that service fees apply.

Find out more about the Kindle Personal Document Service.

Available formats
×

Save book to Dropbox

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Dropbox.

Available formats
×

Save book to Google Drive

To save content items to your account, please confirm that you agree to abide by our usage policies. If this is the first time you use this feature, you will be asked to authorise Cambridge Core to connect with your account. Find out more about saving content to Google Drive.

Available formats
×