| |
| |
| Preface | |
| |
| |
| General Introduction: Film and Identities | |
| |
| |
| |
| Genres: Ever-changing Hybrids | |
| |
| |
| Introduction and Further Reading | |
| |
| |
| |
| Conclusion: A Semantic/Syntactic/Pragmatic Approach to Genre | |
| |
| |
| |
| |
| Film Bodies: Gender, Genre, and Excess | |
| |
| |
| |
| |
| The Body and Spain: Pedro Almodovar's All About My Mother | |
| |
| |
| |
| |
| Enjoy Your Fight! - Fight Club as a Symptom of the Network Society | |
| |
| |
| |
| |
| Film and Changing Technologies | |
| |
| |
| |
| |
| Postmodern Cinema and Hollywood Culture in an Age of Corporate Colonization | |
| |
| |
| |
| |
| Genders: More than Two | |
| |
| |
| Introduction and Further Reading | |
| |
| |
| |
| Mobile Identities, Digital Stars, and Post Cinematic Selves | |
| |
| |
| |
| |
| "Nothing Is as It Seems": Re-viewing The Crying Game | |
| |
| |
| |
| |
| Crying over the Melodramatic Penis: Melodrama and Male Nudity in Films of the 90s | |
| |
| |
| |
| |
| Travels with Sally Potter's Orlando: Gender, Narrative, Movement | |
| |
| |
| |
| |
| Body Matters: The Politics of Provocation in Mira Nair's Films | |
| |
| |
| |
| |
| Cowgirl Tales | |
| |
| |
| |
| |
| Race: Stereotypes and Multiple Realisms | |
| |
| |
| Introduction and Further Reading | |
| |
| |
| |
| The Family Changes Colour: Interracial Families in Contemporary Hollywood Cinema | |
| |
| |
| |
| |
| Black on White: Film Noir and the Epistemology of Race in Recent African American Cinema | |
| |
| |
| |
| |
| Becoming Asian American: Chan Is Missing | |
| |
| |
| |
| |
| The Wedding Banquet: Global Chinese Cinema and the Asian American Experience | |
| |
| |
| |
| |
| Another Fine Example of the Oral Tradition? Identification and Subversion in Sherman Alexie's Smoke Signals | |
| |
| |
| |
| |
| Playing Indian in the Nineties: Pocahontas and The Indian in the Cupboard | |
| |
| |
| |
| |
| "You Are Alright, But...": Individual and Collective Representations of Mexicans, Latinos, Anglo-Americans and African-Americans in Steven Soderbergh's Traffic | |
| |
| |
| |
| |
| World Cinema: Joining Local and Global | |
| |
| |
| Introduction and Further Reading | |
| |
| |
| |
| Theorizing "Third-World" Film Spectatorship: The Case of Iran and Iranian Cinema | |
| |
| |
| |
| |
| The Open Image: Poetic Realism and the New Iranian Cinema | |
| |
| |
| |
| |
| The Seductions of Homecoming: Place, Authenticity and Chen Kaige's Temptress Moon | |
| |
| |
| |
| |
| Cultural Identity and Diaspora in Contemporary Hong Kong Cinema | |
| |
| |
| |
| |
| "And Yet My Heart Is Still Indian": The Bombay Film Industry and the (H)Indianization of Hollywood | |
| |
| |
| |
| |
| Future Past: Integrating Orality into Francophone West African Film | |
| |
| |
| |
| Acknowledgments | |