Global Art Cinema: New Theories and Histories »

Rosalind Galt is a Senior Lecturer in film studies in the School of Media, Film and Music at the University of Sussex. She is the author of The New European Cinema: Redrawing the Map (2006), an assessment of the spaces of European cinema after the fall of the Berlin Wall, as well as articles in journals such as Screen, Camera Obscura, Cinema Journal and Discourse, and in the collections European Film Theory (2008) and On Michael Haneke (2010).

Karl Schoonover is Assistant Professor of film studies in the Department of English at Michigan State University. He has authored essays in the collections European Film Theory (2008), Convergence Media History (2009), and Screen Stars of the Seventies (2010), and in Art Journal. He is currently completing a book that examines corporeality in Italian neorealism.

"Art cinema" has for over fifty years defined how audiences and critics imagine film outside Hollywood, but surprisingly little scholarly attention has been paid to the concept since the 1970s. And yet in the last thirty years art cinema has flourished worldwide. The emergence of East Asian and Latin American new waves, the reinvigoration of European film, the success of Iranian directors, and the rise of the film festival have transformed the landscape of world cinema. This book brings into focus art cinema's core internationalism, demonstrating its centrality to understanding film as a global phenomenon.

The book reassesses the field of art cinema in light of recent scholarship on world film cultures. In addition to analysis of key regions and films, the essays cover topics including theories of the film image; industrial, aesthetic, and political histories; and art film's intersections with debates on genre, sexuality, new media forms, and postcolonial cultures. Global Art Cinema brings together a diverse group of scholars in a timely conversation that reaffirms the category of art cinema as relevant, provocative, and, in fact, fundamental to contemporary film studies.

Foreword
Dudley Andrew

Introduction
The Impurity of Art Cinema Rosalind Galt and Karl Schoonover

1. Delimiting the Field
Beyond Europe: A Parametric Tradition?
Mark Betz
The Fantastic Trajectory of Pink Art Cinema From Stalin to Bush
Sharon Hayashi
Towards an Inclusive, Exclusive Approach to Art Cinema
David Andrews
Unthinking Heterocentrism: Bisexual Representability in Art Cinema
Maria San Filippo
Interactive Art Cinema: Between "Old" and "New" Media with Un Chien andalou and eXistenZ
Adam Lowenstein

2. The Art Cinema Image
Art/Cinema and Cosmopolitanism Today
Brian Price
Between Auditorium and Gallery: Perception in Apichatpong Weerasethakul's Films and Installations
Jihoon Kim
Pasolini's Exquisite Flowers: "The 'Cinema of Poetry'" as a Theory of Art Cinema
John David Rhodes
From Index to Figure in the European Art Film: The Case of The Conformist
Angelo Restivo
Surrealism in Art and Film: Face and Time
Angela Dalle Vacche

3. Art Cinema Histories
The Volcano and the Barren Hill: Gabriel Figueroa and the Space of Art Cinema
Patrick Keating
The Essay Film as a Cinema of Ideas
Timothy Corrigan
The Cloud-Capped Star: Ritwik Ghatak on the Horizon of Global Art Cinema
Manishita Dass
Notes on Art Cinema and the Emergence of Sub-Saharan Film
Philip Rosen
Disentangling the International Festival Circuit: Genre and Iranian Cinema
Azadeh Farahmand

4. Geopolitical Intersections
European Art Cinema, Affect, and Post-colonialism: Herzog, Denis, and the Dardenne Brothers
E. Ann Kaplan
Offering Tales They Want to Hear: Transnational European Film Funding as Neo-Orientalism
Randall Halle
Abderrahmane Sissako: Second and Third Cinema in the First Person
Rachel Gabara
Tsai Ming-liang's Haunted Movie Theater
Jean Ma
Traveling Theory, Shots, and Players: Jorge Sanjinés, New Latin American Cinema, and the European Art Film
Dennis Hanlon

Critical Bibliography
Notes on the Contributors