$a 作者在"影像江南"这个中国电影空间美学的概念 中, 较为清晰地勾画出从上世纪20年代末至今近90年来 , 中国电影创作者一直坚守和沿承的民族电影美学 脉络, 这是从电影的叙事空间的角度, 扩展中国电影史研究的一个重要创举.

İETT in Turkish movies; history.

Russian painter Kazimir Malevich (1878-1935), unlike other prominent Soviet artists, has not been much considered in discussions of the contributions of the avant-garde to photography and film. Yet a close examination of theoretical and practical aspects of Malevich's oeuvre not only places him fully in the Soviet post-abstract discourse on these media but also, Margarita Tupitsyn argues in this analysis, alters the accepted view of his post-Suprematist period. Exploring Malevich's involvement with film, Tupitsyn draws on little-known writings about cinema by the artist himself, and many photographs and documents. Malevich's influence on 20th-century art extends far more widely than has been claimed for him before, the author concludes. The work begins with a re-evaluation of Malevich's most famous painting, "Black Square", a work whose meaning and function was in constant flux. Through "Black Square" Malevich began to cross the bridge from the painting medium to mechanically-generated production, ultimately influencing the post-revolutionary phase of his Suprematism and leading to his abandonment of abstraction in the late 1920s. Tupitsyn discusses in detail Malevich's writing about the cinema, the cinematic qualities of some of his works, and the significant impact of Malevich's thought and work on Russian, European and American artists of the 1920s and 1930s as well as the post-war period.
(source: Nielsen Book Data)

• Presentación
• 1903: segunda parte. La ciudad de México en los albores del cine
• La desamortización y el crecimiento de la ciudad
• La división política del Distrito Federal
• Las obras de desagüe de la cuenca de México
• La Plaza de la Constitución
• La Avenida Principal
• Las obras en las calles céntricas
• De Santo Domingo a Peravillo
• De la garita de San Antonio Abad a la garita de la Candelaria
• De la garita de Belén al Pueblo de la Piedad
• La Fuente del Salto del Agua y de ésta a Chapultepec
• Las calles del Pane y el paseo de la reforma
• Las colonias Reforma y Condesa
• De la plazuela del Empedradillo a la avenida de los Hombres Ilustres
• La Alameda de México
• Los tivolis y los cinematógrafos
• De San Hipólito al Jardín Guerrero
• La colonia Santa María la Rivera
• Popotla, Tacuba, Atzcapotzalco
• El transporte urbano
• Los nuevos mercados públicos y el rastro
• Una ciudad poblada mayormente por artesanos.

• Introduction. The longitude and latitude of world cinema / Rob Stone, Paul Cooke, Stephanie Dennison and Alex Marlow-Mann
• Part I. Longitude
• 1. The cinematic and the real in contemporary Chinese cinema / Yingjin Zhang
• 2. Southeast Asian independent cinema : a world cinema movement / Jonathan Driskell
• 3. Global intimacy and cultural intoxication : Japanese and Korean film in the twenty-first century / Felicity Gee
• 4. Media refashioning : from Nollywood to New Nollywood / Jeffrey Geiger
• 5. Framing democracy : film in post-democracy South Africa / Ian-Malcolm Rijsdijk
• 6. Brazilian cinema on the global screen / Stephanie Dennison
• 7. Transnational filmmaking in South America / Dolores Tierney
• 8. Connected in "another way" : reception, difference and identity in Caribbean cinema / Dunja Fehimović
• 9. Women's (r)revolutions in Mexican cinema / Niamh Thornton
• 10. Popular cinema/quality television : the audio-visual sector in Spain / Paul Julian Smith
• 11. Contemporary Scandinavian cinema : between art and commerce / Olof Hedling
• 12. British cinemas : critical and historical debates / James Chapman
• 13. Developments in Eastern European cinemas since 1989 / Elżbieta Ostrowska and Joanna Rydzewska
• 14. Cinema at the edges of the European Union : new dynamics in the South and the East / Lydia Papadimitriou
• 15. The non/industries of film and the Palestinian emergent film economy / Viviane Saglier
• 16. Locations and narrative reorientations in Arab cinema/world cinema / Anne Ciecko
• 17. The forking paths of Indian cinema : revisiting Hindi films through their regional networks / Nadhuja Mukherjee
• 18. American indie film and international art cinema : points of distinction and overlap / Geoff King
• 19. Canadian cinema(s) / Christopher E. Gittings
• 20. Conventions, preventions and interventions : Australian cinema since the 1970s / Jonathan Rayner.

• Part II. Latitude
• 21. Cinemas of citizens and cinemas of sentiment : world cinema in flux / Rob Stone
• 22. Transworld cinemas : film-philosophies for world cinemas' engagement with world history / David Martin-Jones
• 23. Transnational cinema : mapping a field of study / Deborah Shaw
• 24. "Soft power" and shifting patterns of influence in global film culture / Paul Cooke
• 25. Realist cinema as world cinema / Lúcia Nagib
• 26. Regional cinema : micro-mapping and glocalisation / Alex Marlow-Mann
• 27. Global women's cinema / Kate Ince
• 28. Provincialising heterosexuality : queer style, world cinema / Rosalind Galt and Karl Schoonover
• 29. Stars across borders : the vexed question of stars' exportability / Ginettte Vincendeau
• 30. Film fusions : the cult film in world cinema / Mark Goodall
• 31. Perceptual motion pictures : Sisyphean burden and the global screen franchinse / James Walters
• 32. Screening world cinema at film festivals : festivalisation and (staged) authenticity / Marijke de Valck
• 33. Cinephilia goes global : loving cinema in the post-cinematic age / Belén Vidal
• 34. Another (hi)story? : reinvestigation the relationship between cinema and history / Vito Zagarrio
• 35. Archival cinema / Paolo Cherchi Usai
• 36. Digital cinemas / Sean Cubitt
• 37. Access and power : film distribution, re-intermediation and piracy / Virginia Crisp
• 38. The emerging global screen ecology of social media entertainment / Stuart Cunningham and David Craig
• 39. Remapping world cinema through audience research / Huw D. Jones
• 40. Eyes on the future : world cinema and transnational capacity building / Mette Hjort.

The Routledge Companion to World Cinema explores and examines a global range of films and filmmakers, their movements and audiences, comparing their cultural, technological and political dynamics, identifying the impulses that constantly reshape the form and function of the cinemas of the world. Each of the forty chapters provides a survey of a topic, explaining why the issue or area is important, and critically discussing the leading views in the area. Designed as a dynamic forum for forty-three world-leading scholars, this companion contains significant expertise and insight and is dedicated to challenging complacent views of hegemonic film cultures and replacing outmoded ideas about production, distribution and reception. It offers both a survey and an investigation into the condition and activity of contemporary filmmaking worldwide, often challenging long-standing categories and weighted-often politically motivated-value judgements, thereby grounding and aligning the reader in an activity of remapping which is designed to prompt rethinking.
(source: Nielsen Book Data)