Crossover Cinema Anthology
Publisher: In preparation for Palgrave ('Global Cinema' series)
Provisional Title: 'Crossover Cinema: Resetting the Film Frame/work'
Editor: Sukhmani Khorana (PhD Adelaide)
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This volume of related essays is based on the notion that cinematic products
(especially in the twenty-first century) emerge from, engage with, and are
consumed in cross-cultural settings. These films exhibit genre hybridity, and
also problematise the ideological tendencies of national(ist)
cinemas. They are
often conceived and produced by creative individuals/groups on the margins of
society, such as diasporic citizens. Their multiple influences are
manifested in
the content and form of the films themselves. In terms of
distribution channels
and marketing discourses, these in turn cross (and work across) varying
platforms and commercial/arthouse distinctions. The crossover is eventually
epitomised in the watching of these films by a wide range of audience groups,
thereby disturbing ethno-cultural and generic marketing categories.
Proposals (200 to 300 words) are sought for full papers (5,000 to 8,000 words)
that could take the form of a) textual analysis of relevant films;
b) interviews
with crossover filmmakers; c) reflective essays by film
scholars/practitioners;
d) analysis of publicity material such as film posters; d) audience
demographic
studies; or e) contextualised film reviews. These could fit one of
the following
themes/questions, but are not limited to:
1. The re-conceptualisation of nation-based cinema (as an industry)
in the wake
of both unprecedented global migration, and the growing economic and cultural
capital accrued to the non-west.
2. The impact of cross-cultural productions (involving collaboration
of finances
and/or talent) on the content of the films being produced. What does this mean
for the discipline of film studies and for text-based film scholarship?
3. Crossover films often have successful runs in arthouse cinemas and on film
festival circuits, but this rarely translates to box office numbers or wider
audience appeal. What is the role of film marketing and publicity where
successful audience crossovers have occurred?
4. Not only are digital technologies being used for producing and marketing
cutting-edge crossover films in all genres, but the online world is
also a haven
for film reviews. Can this enable a transcultural approach to film reviewing?
Please email proposals and a short bio (in a single word document).
Contact: (sukhmani.khorana /at/ adelaide.edu.au)
Deadline: 14th March 2011
