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Beyond Hollywood - Season 1
Aerial New Zealand. China From Above Future is Now. China From Above Dynamic Coast. He questions the new opportunities offered by online platforms in providing new visibility to world cinema and argues that the categorisation of streaming platforms constitutes a form of gatekeeping between the ultimate film product and the audience.
Baschiera maintains that the new market forces, such as Amazon Instant Video and Netflix, are relying more and more on the niche, and hence also international genre cinema, to fill their catalogue providing new suggestions to their users. Finally, Phoenix Fry discusses his first-hand experience as a film programmer in the London area on the basis of his film seasons and festivals on popular global cinema.
He describes the challenges of exhibiting and promoting niche products, but also the excitement of discovering vernacular adventures that offer a valid alternative to the catalogue of art-house cinema. In an age of globalisation and new economic powers Fry concludes that the interest in popular global cinema is growing within Western audiences and new solutions has to be thought regarding how to bring these genre films to the masses. They both argue that genres function as labels applied by producers, critics, audiences and marketing departments to identify cycles of productions.
In this issue the contributions develop upon their framework, expanding their remit through an analysis of diverse socio-cultural contexts. Barton Palmer and Steven Jay Schneider, eds. We would like to thank the anonymous reviewers for their suggestions and the Frames team, in particular Heath Iverson, Eileen Rositzka and Amber Shields for their enthusiasm and feedback on the original proposal.
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Her thesis focuses on the representation of left-wing terrorism in postmillennial Italian and German cinema. She has published on multiculturalism, political cinema, cultural memory and nostalgia in edited collections and journals, such as Alphaville Journal of Film and Screen Media and Networking Knowledge. Her research focuses on the spatial relations between sounds and images, particularly in the musical genre.
She is also working on the development of animated virtual reconstructions to aid in reading films in haptic and multisensory ways. Beth is teaching at the University of Southampton and has publications pending on the musical genre as well as multisensory approaches to cinema. The standards govern on-screen representation and subject matter, behind-the-camera leadership, help for newcomers and the diversification of audiences.
Beyond Hollywood: A Film Lover’s Guide to Ghana
Producers must tick a specified number of boxes in at least two of these four categories or be barred from funding. Some have asked what impact the standards will have on creative freedom. From , films that fail to meet the standards will be ineligible for the categories of outstanding British film and outstanding debut.
For some, this was a step too far. Even Guardian readers attacked the move. Excessive action on diversity could alienate the public.
But in cinemas the film flopped , because, well, it was actually a turkey. Virtue-signalling celebrity speeches at awards ceremonies could also prove off-putting. So might over-the-top whingeing: complaints that La La Land ignores the black, Hispanic and gay communities in Los Angeles, culturally appropriates jazz and insults women because its female lead is a wuss provoke understandable irritation. Faced with the charge that his satire on s Hollywood, Hail, Caesar! Plenty of filmgoers, however, might have agreed with them both.
Some diversity hardliners want favouritism shown towards minority nominees in awards voting. Others want aggressively colour-blind casting and characters gender-swapped to increase the number of women in leading roles. Some want studios to restrict key executive roles to minority candidates. But excessive demands could damage their cause. More may need to be done, but it needs to be done judiciously.
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