Cinema and Media Studies

This is the first edited collection to critically address in its entirety questions related to the displaying of Chinese contemporary art. It includes chapters by scholars and cultural workers from diverse backgrounds involved in the interpretation of artistic as well as curatorial discourses and practices. Each of those chapters gives a detailed account of a particular, socio-culturally informed, approach to the making and showing of Chinese art - including in relation to queer identities, transculturality, the use of social media, artivism, social engagement, institutional critique, and neo-Confucian aesthetics. Together they present a vital intervention with established curatorship amidst the intensely interconnected and increasingly multi-polar cultural conditionalities of early 21st-century contemporaneity.

The Celluloid Atlantic changes the way we look at American and Italian cinema in the postwar period. In the thirty years following World War II, American and Italian film industries came to be an integrated, transnational unit rather than two separate, nation-based entities. Written in jargon-free prose and based on previously unexplored archival sources, this book revisits the history of Neorealism, World War II combat cinema, the "Western all'Italiana," and the career of John Kitzmiller, the African American star who made Italy his home and was the first person of color to win the Best Actor Award at the Cannes Film Festival.  Giovacchini argues that the waning of the Celluloid Atlantic in the early 1970s was due to the economic policies of the first Nixon administration, specifically its important, but largely neglected, Revenue Act of 1971, as well as to the ideological debates between Europeans and Americans that intensified during the American intervention in Vietnam. 

In terms of plot, The Ascent  is unusual in how it humanizes collaboration with the enemy, an act usually befitting only villainous characters in Soviet cinema. The film as a whole, and the first half in particular, emphasizes what Lucía Nagib calls the “realist mode of production”—in particular, through on-location shooting in which the actors endured conditions similar to those experienced by their onscreen characters. The “documentary” approach to the production of a historical film serves to recuperate a sense of contingency, in opposition to the teleological developmental narrative of Soviet History, a gesture that fits into the post-war, post-Stalin-era Soviet “counter-cinema” attempt to break with the entrenched norms of socialist realism. The chapter argues that in rejecting the psychological development of the two main characters and in focusing, particularly in the first half of the film, on the materiality of experience under the extreme conditions of the war, the film exceeds the boundaries of its ostensible central ideological conflict and its engagement with the Soviet mythology of the Second World War. Rather, the film poses broader, universal questions of moral life under extreme circumstances, and provides the audience with the conditions for engaging those questions through their own experiences—and their experience of the film.