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This book brings together for the first time five French directors who have established themselves as among the most exciting and significant working today: Bruno Dumont, Robert Guédiguian, Laurent Cantet, Abdellatif Kechiche, and Claire Denis. Whatever their chosen habitats or shifting terrains, each of these highly distinctive auteurs has developed unique strategies of representation and framing that reflect a profound investment in the geophysical world. The book proposes that we think about cinematographic space in its many different forms simultaneously (screenspace, landscape, narrative space, soundscape, spectatorial space). Through a series of close and original readings of selected films, it posits a new ‘space of the cinematic subject’. Accessible and wide-ranging, this volume opens up new areas of critical enquiry in the expanding interdisciplinary field of space studies. It will be of immediate interest to students and researchers working not only in film studies and film philosophy, but also in French/Francophone studies, postcolonial studies, gender and cultural studies.Listen to James S. Williams speaking about his book http://bit.ly/13xCGZN. (Copy and paste the link into your browser)

Spaces of Longing and Belonging contains theoretical and interpretative studies of spatiality centered on a variety of literary and cultural contexts. The essays provide a collection of innovative scholarship on central questions relating to literary spatiality in a context of increased global awareness.

Thus book examines the spatial morphologies represented in a wide range of contemporary ethnic American literary and cinematic works. Drawing from Henri Lefebvre’s theorization of space as a living organism, Edward Soja’s writings on the postmetropolis, Marc Augé’s notion of the non-place, Manuel Castells’ space of flows, and Michel de Certeau’s theories of walking as a practice, the volume extends previous theorizations by examining how spatial uses, appropriations, strictures, ruptures, and reconfigurations function in literary texts and films that represent inhabitants of racial-ethnic borderlands and migrational U.S. cities. The authors argue for the necessity of an alternative poetics of place that makes room for those who move beyond the spaces of traditional visibility—displaced and homeless people, undocumented workers, hybrid and/or marginalized populations rendered invisible by the cultural elite, yet often disciplined by agents of surveillance. Building upon Doreen Massey’s conceptualization of liminal space as a sphere in which narratives intersect, clash, or cooperate, this study recasts spatial paradigms to insert an array of emergent geographies of invisibility that the volume traverses via the analysis of works by Chuck Palahniuk, Helena Viramontes, Karen Tei Yamashita, Gloria Anzaldúa, Alejandro Morales, and Li-Young Lee, among others, and films such as Thomas McCarthy’s The Visitor, Steven Spielberg’s The Terminal, and Alejandro Gonzalez Iñárritu’s Babels.

The \"spatial\", the \"bodily\", and the \"memory turn\" in the humanities and cultural studies are well-canonized developments. These features of our being in the world are fundamental in the medium of cinema, which is an art of spaces, bodies, and memories, increasingly so today when the analogue platform has been running parallel with the digitalized method of filmmaking. The three nodal concepts define the tripartite structure of this volume, composed of an overview study and twelve case-studies of post-1989 Eastern European film and cinema. The overarching questions of space representation and construction, bodies on screen, issues of national identification in a postcolonial framework, and cinema as a form of cultural memory are explored through the lens of specific national cinemas or contemporary Croatian, Hungarian, Polish, Serbian, Slovakian, Slovenian, and Romanian films. In addition to investigating the cohesive forces that mark the postcommunist Eastern European region as a coherent cultural entity in its cinematic representations, the volume also stands as a witness to the importance of transnational approaches.

Taking Place argues that the relation between geographical location and the moving image is fundamental and that place grounds our experience of film and media. Its original essays analyze film, television, video, and installation art from diverse national and transnational contexts to rethink both the study of moving images and the theorization of place.

In this cross-cultural history of narrative cinema and media from the 1910s to the 1930s, leading and emergent scholars explore the transnational crossings and exchanges that occurred in early cinema between the two world wars. Drawing on film archives from around the world, this volume advances the premise that silent cinema freely crossed national borders and linguistic thresholds in ways that became far less possible after the emergence of sound. These essays address important questions about the uneven forces-geographic, economic, political, psychological, textual, and experiential-that underscore a non-linear approach to film history. The \"messiness\" of film history, as demonstrated here, opens a new realm of inquiry into unexpected political, social, and aesthetic crossings of silent cinema.

Space Oddities examines the representation of women in outer space films from 1960 to 2000, with an emphasis on films in which women are either denied or given the role of astronaut. Marie Lathers traces an evolution in this representation from women as aliens and/or \"assistant\" astronauts, to women as astronaut wives, to women as astronauts themselves. Many popular films from the era are considered, as are earlier films (from Aelita Queen of Mars to Devil Girl From Mars) and historical records, literary fiction, and television shows (especially I Dream of Jeannie). Early 1960s attempts by women pilots to enter the Space Race are considered as is the media drama surrounding the death of Christa McAuliffe. In addition to its insightful film scholarship, this is an important addition to current reassessments of the Space Race. By applying insights from contemporary gender, race, and species theories to popular imaginings of women in space, the status of the Space Race as a cultural construct that reproduces and/or warps terrestrial gender structures is revealed.

Ever since the emergence of the spatial turn in several scientific discourses, special attention has been paid to the surrounding space conceived as a construct created by the dynamics of human activity. The notion of space assists us in describing the most varied spheres of human existence. We can speak of various physical, metaphysical, social and cultural, and communicative spaces, as structuring components providing access to various literary, linguistic, social and cultural phenomena, thus promoting the initiation of a cross-disciplinary dialogue. The essays selected in this volume cover a wide range of topics related to space: intercultural and interethnic spaces; linguistic, textual space formation; the narratology of space, spatial-temporal relationships, space construction in literature and film; space in contemporary art; inter-art relations and intermediality; spaces of cultural memory; nature and culture; cultural geography; cross-cultural connections between the East and the West; Central and Eastern European geocultural paradigms; the relationship between geographical space and cyberspace; and relational spaces. The approaches used in this volume range across various discursive practices related to space, outlining the shifts and displacements concerning existence and identity in the continuously changing, restructuring, always transitory, in-between spaces.

01 02 Postcolonial Spaces is the first collection of interdisciplinary essays to focus on the crucial role of space in the study of the politics of contemporary postcolonial experience. It brings together influential scholars from the fields of media, film, literature, and geography, embodying the centrality of interdisciplinary thinking to recent postcolonial scholarship. The book includes essays from a wide range of geographies, encompassing Europe, South America, South Asian, Australasia, and the Caribbean. As well as a comprehensive introduction, essays engage with a broad spectrum of postcolonial spatialities, including: Caryl Phillips's Northern landscapes; the role of clothing in Islam and the fiction of Monica Ali; the domestic spaces of South Asian women writers; Peter Carey's representation of territory; South Asian children's literature; map-making in Equador, Michel Foucault's territorial thinking; Jamaica Kincaid's use of the garden-space; migrant spaces in Stephen Frears's Dirty Pretty Things; Bombay in contemporary Indian film; and the spatial politics of theory in the western academy.  Featuring a Foreword from Edward Soja, the volume offers a wealth of material for postcolonial students and scholars 04 02 Table of Figures and Illustrations Acknowledgements Notes on Contributors Foreword; E.Soja Introduction; A.Teverson  & S.Upstone English Somewheres: Caryl Phillips and the English North; J.McLeod   A Few Words About the Role of the Cartographers: Mapping and Postcolonial Resistance in Peter Carey's 'Do You Love Me?'; N.Dunlop   'How does your garden grow?' or Jamaica Kincaid's Spatial Praxis in My Garden (book): and Among Flowers: A Walk in the Himalaya; W.Knepper   Gender and Space in Postcolonial Fiction: South Asian Novelists Re-imagining Women's Spatial Boundaries; E.Jackson   From Hijab to Sweatshops: Segregated Bodies and Contested Space in Monica Ali's Brick Lane; M.Germanà   Overlapping Space and the Negotiation of Cultural Identity: Children's Literature from the South Asian Diaspora; S.Emmambokus  Owning the City: Screening Postcolonial Bombay in Milan Luthria's Taxi 9 2 11 : Nau Do Gyarah; C.Herbert   Postcolonial Purgatory: The Space of Migrancy in Dirty Pretty Things; J.Graham Third Space, Abstract Space and Coloniality: National and Subaltern Cartography in Ecuador; S.A.Radcliffe Security, Territory, and Colonial Populations: Town and Empire in Foucault's 1978 Lecture Course; S.Legg   The Geography of Theory: Knowledge, Politics and the Postcolonial Present; T.Jazeel Notes Bibliography Index 08 02 'This is an important and timely publication which makes a persuasive case for a more sustained engagement with the politics of space in postcolonial studies. Its interdisciplinary range of reference makes for a rich and multifaceted approach to its subject.' - Michelle Keown, Senior Lecturer in English Literature, University of Edinburgh, UK 31 02 Interdisciplinary collection of essays on postcolonial spatial politics in contemporary world culture bringing together perspectives from geography, literature, media studies, and film studies 02 02 With essays from a range of geographies and bringing together influential scholars across a range of disciplines, this book focuses on the role of space in the study of the politics of contemporary postcolonial experience, engaging with the spectrum of postcolonial spatialities which play a significant role in defining global postcolonial culture. 13 02 ANDREW TEVERSON is Director of Studies for English Literature and Creative Writing at Kingston University, London, UK. He is the author of Salman Rushdie (Contemporary World Writers).    SARA UPSTONE is Principal Lecturer in English Literature, Kingston University, London, UK. 19 02 First edited volume to focus on the spatiality in postcolonial theory/studies Responds to a shift away from textuality in postcolonial studies towards interdisciplinary approaches Increasing interest in issues on material and literary space New essays on the contribution of Foucault to postcolonial scholarship, and on the disciplinary politics of postcolonial studies Broad geographical focus including South Asia, South America, the Caribbean, the United Kingdom, and Australia

An exploration of the fundamental bond between cinema and the cosmos The advent of cinema occurred alongside pivotal developments in astronomy and astrophysics, including Albert Einstein's theories of relativity, all of which dramatically altered our conception of time and provided new means of envisioning the limits of our world. Tracing the many aesthetic, philosophical, and technological parallels between these fields, Stardust explores how cinema has routinely looked toward the cosmos to reflect our collective anxiety about a universe without us. Employing a \"cosmocinematic gaze,\" Hannah Goodwin uses the metaphorical frameworks from astronomy to posit new understandings of cinematic time and underscore the role of light in generating archives for an uncertain future. Surveying a broad range of works, including silent-era educational films, avant-garde experimental works, and contemporary blockbusters, she carves out a distinctive area of film analysis that extends its reach far beyond mainstream science fiction to explore films that reckon with a future in which humans are absent. This expansive study details the shared affinities between cinema and the stars in order to demonstrate how filmmakers have used cosmic imagery and themes to respond to the twentieth century's moments of existential dread, from World War I to the atomic age to our current moment of environmental collapse. As our outlook on the future continues to change, Stardust illuminates the promise of cinema to bear witness to humanity's fragile existence within the vast expanse of the universe.