Julie F. Codell is Professor of Art History and English at Arizona State University. She is the author of The Victorian Artist: Artists’ Lifewritings in Britain (2003).

"An invaluable resource that should (and will) be used by anyone interested in studying, or otherwise thinking about cinema." M/C Reviews“Julie Codell’s anthology does not so much as carve out a niche in film studies as dive in and out of several pre-existing niches, helping itself en route to anything that looks bright and attractive. The result is a collection that overlaps the territory of various recent publications… while forging links and mapping interconnections between its prime concerns… Altogether, this collection should encourage students to explore areas of cinema beyond the conventional English-language mainstream, enriching their viewing experience and offering insights and wider cultural contexts for the films they watch.” The Times Higher Education Supplement “This is a volume whose time has come: a new kind of film text to suit an era when globalization challenges the authority of local cultures, and diasporic mobility is the order of the day.” E. Ann Kaplan, State University of New York at Stony Brook "A superb collection that insightfully demonstrates that race and gender shape global cinema. Ideal for film courses and for anyone interested in world cinema, this is a well-balanced, rigorous, and accessible group of essays sure to provoke deep reflection and passionate discussion." Daniel Bernardi, Arizona State University

• Preface. General Introduction: Film and Identities.Part I: Genres: Ever-Changing Hybrids:.Introduction and Further Readings.1. Conclusion: A semantic/syntactic/pragmatic approach to genre: Rick Altman.2. Film Bodies: Gender, Genre, and Excess: Linda Williams.3. The Body and Spain: Pedro Almodovar’s All About My Mother: Ernesto R. Acevedo-Muñoz.4. Enjoy Your Fight!--Fight Club as a Symptom of the Network Society: Bülent Diken and Carsten Bagge Laustsen.5. Film and Changing Technologies: Laura Kipnis.6. Postmodern Cinema and Hollywood Culture in an Age of Corporate Colonization: C. Boggs and T. Pollard.Part II: Genders – More Than Two:.Introduction and Further Readings.7. Mobile Identities, Digital Stars, and Post Cinematic Selves: Mary Flanagan.8. “Nothing Is As It Seems”: Re-viewing The Crying Game: Lola Young.9. Crying over the Melodramatic Penis: Melodrama and Male Nudity in Films of the 90s: Peter Lehman.10. Travels with Sally Potter’s Orlando: Gender, Narrative, Movement: Julianne Pidduck.11. Body Matters: the Politics of Provocation in Mira Nair’s Films: Alpana Sharma.12. Cowgirl Tales: Yvonne Tasker.Part III: Race Stereotypes and Multiple Realisms:.Introduction and Further Readings.13. The Family Changes Color: Interracial Families in Contemporary Hollywood Cinema: Nicola Evans.14. Black on White: Film Noir and the Epistemology of Race in Recent African American Cinema: Dan Flory.15. Being Chinese American, Becoming Asian American: Chan is Missing: Peter X Feng.16. The Wedding Banquet: Global Chinese Cinema and the Asian American Experience: Gina Marchetti.17. Another Fine Example of the Oral Tradition? Identification and Subversion in Sherman Alexie’s Smoke Signals: Jhon Warren Gilroy.18. Playing Indian in the Nineties: Pocahontas and The Indian in the Cupboard: Pauline Turner Strong.19. “You Are Alright, But…”: Individual and Collective Representations of Mexicans, Latinos, Anglo-Americans and African-Americans in Steven Soderbergh's Traffic: Deborah Shaw.Part IV: World Cinema, Joining Local and Global:.Introduction and Further Readings.20. Theorizing ‘Third-World’ Film Spectatorship: Hamid Naficy.21. The Open Image: Poetic Realism and the New Iranian Cinema: Shohini Chaudhuri and Howard Finn.22. The Seductions of Homecoming; Place, Authenticity, and Chen Kaige’s Temptress Moon: Rey Chow.23. Cultural Identity and Diaspora in Contemporary Hong Kong Cinema: Julian Stringer.24. “And Yet My Heart Is Still Indian”: The Bombay Film Industry and the (H)Indianization of Hollywood: Tejaswini Ganti.25. Future Past: Integrating Orality into Francophone West African Film: Melissa Thackway.Acknowledgments

Julie F. Codell is Professor of Art History and English at Arizona State University. She is the author of The Victorian Artist: Artists’ Lifewritings in Britain (2003).

"An invaluable resource that should (and will) be used by anyone interested in studying, or otherwise thinking about cinema." M/C Reviews“Julie Codell’s anthology does not so much as carve out a niche in film studies as dive in and out of several pre-existing niches, helping itself en route to anything that looks bright and attractive. The result is a collection that overlaps the territory of various recent publications… while forging links and mapping interconnections between its prime concerns… Altogether, this collection should encourage students to explore areas of cinema beyond the conventional English-language mainstream, enriching their viewing experience and offering insights and wider cultural contexts for the films they watch.” The Times Higher Education Supplement “This is a volume whose time has come: a new kind of film text to suit an era when globalization challenges the authority of local cultures, and diasporic mobility is the order of the day.” E. Ann Kaplan, State University of New York at Stony Brook "A superb collection that insightfully demonstrates that race and gender shape global cinema. Ideal for film courses and for anyone interested in world cinema, this is a well-balanced, rigorous, and accessible group of essays sure to provoke deep reflection and passionate discussion." Daniel Bernardi, Arizona State University

• Preface. General Introduction: Film and Identities.Part I: Genres: Ever-Changing Hybrids:.Introduction and Further Readings.1. Conclusion: A semantic/syntactic/pragmatic approach to genre: Rick Altman.2. Film Bodies: Gender, Genre, and Excess: Linda Williams.3. The Body and Spain: Pedro Almodovar’s All About My Mother: Ernesto R. Acevedo-Muñoz.4. Enjoy Your Fight!--Fight Club as a Symptom of the Network Society: Bülent Diken and Carsten Bagge Laustsen.5. Film and Changing Technologies: Laura Kipnis.6. Postmodern Cinema and Hollywood Culture in an Age of Corporate Colonization: C. Boggs and T. Pollard.Part II: Genders – More Than Two:.Introduction and Further Readings.7. Mobile Identities, Digital Stars, and Post Cinematic Selves: Mary Flanagan.8. “Nothing Is As It Seems”: Re-viewing The Crying Game: Lola Young.9. Crying over the Melodramatic Penis: Melodrama and Male Nudity in Films of the 90s: Peter Lehman.10. Travels with Sally Potter’s Orlando: Gender, Narrative, Movement: Julianne Pidduck.11. Body Matters: the Politics of Provocation in Mira Nair’s Films: Alpana Sharma.12. Cowgirl Tales: Yvonne Tasker.Part III: Race Stereotypes and Multiple Realisms:.Introduction and Further Readings.13. The Family Changes Color: Interracial Families in Contemporary Hollywood Cinema: Nicola Evans.14. Black on White: Film Noir and the Epistemology of Race in Recent African American Cinema: Dan Flory.15. Being Chinese American, Becoming Asian American: Chan is Missing: Peter X Feng.16. The Wedding Banquet: Global Chinese Cinema and the Asian American Experience: Gina Marchetti.17. Another Fine Example of the Oral Tradition? Identification and Subversion in Sherman Alexie’s Smoke Signals: Jhon Warren Gilroy.18. Playing Indian in the Nineties: Pocahontas and The Indian in the Cupboard: Pauline Turner Strong.19. “You Are Alright, But…”: Individual and Collective Representations of Mexicans, Latinos, Anglo-Americans and African-Americans in Steven Soderbergh's Traffic: Deborah Shaw.Part IV: World Cinema, Joining Local and Global:.Introduction and Further Readings.20. Theorizing ‘Third-World’ Film Spectatorship: Hamid Naficy.21. The Open Image: Poetic Realism and the New Iranian Cinema: Shohini Chaudhuri and Howard Finn.22. The Seductions of Homecoming; Place, Authenticity, and Chen Kaige’s Temptress Moon: Rey Chow.23. Cultural Identity and Diaspora in Contemporary Hong Kong Cinema: Julian Stringer.24. “And Yet My Heart Is Still Indian”: The Bombay Film Industry and the (H)Indianization of Hollywood: Tejaswini Ganti.25. Future Past: Integrating Orality into Francophone West African Film: Melissa Thackway.Acknowledgments

Julie F. Codell is Professor of Art History and English at Arizona State University. She is the author of The Victorian Artist: Artists’ Lifewritings in Britain (2003).

"An invaluable resource that should (and will) be used by anyone interested in studying, or otherwise thinking about cinema." M/C Reviews“Julie Codell’s anthology does not so much as carve out a niche in film studies as dive in and out of several pre-existing niches, helping itself en route to anything that looks bright and attractive. The result is a collection that overlaps the territory of various recent publications… while forging links and mapping interconnections between its prime concerns… Altogether, this collection should encourage students to explore areas of cinema beyond the conventional English-language mainstream, enriching their viewing experience and offering insights and wider cultural contexts for the films they watch.” The Times Higher Education Supplement “This is a volume whose time has come: a new kind of film text to suit an era when globalization challenges the authority of local cultures, and diasporic mobility is the order of the day.” E. Ann Kaplan, State University of New York at Stony Brook "A superb collection that insightfully demonstrates that race and gender shape global cinema. Ideal for film courses and for anyone interested in world cinema, this is a well-balanced, rigorous, and accessible group of essays sure to provoke deep reflection and passionate discussion." Daniel Bernardi, Arizona State University

• Preface. General Introduction: Film and Identities.Part I: Genres: Ever-Changing Hybrids:.Introduction and Further Readings.1. Conclusion: A semantic/syntactic/pragmatic approach to genre: Rick Altman.2. Film Bodies: Gender, Genre, and Excess: Linda Williams.3. The Body and Spain: Pedro Almodovar’s All About My Mother: Ernesto R. Acevedo-Muñoz.4. Enjoy Your Fight!--Fight Club as a Symptom of the Network Society: Bülent Diken and Carsten Bagge Laustsen.5. Film and Changing Technologies: Laura Kipnis.6. Postmodern Cinema and Hollywood Culture in an Age of Corporate Colonization: C. Boggs and T. Pollard.Part II: Genders – More Than Two:.Introduction and Further Readings.7. Mobile Identities, Digital Stars, and Post Cinematic Selves: Mary Flanagan.8. “Nothing Is As It Seems”: Re-viewing The Crying Game: Lola Young.9. Crying over the Melodramatic Penis: Melodrama and Male Nudity in Films of the 90s: Peter Lehman.10. Travels with Sally Potter’s Orlando: Gender, Narrative, Movement: Julianne Pidduck.11. Body Matters: the Politics of Provocation in Mira Nair’s Films: Alpana Sharma.12. Cowgirl Tales: Yvonne Tasker.Part III: Race Stereotypes and Multiple Realisms:.Introduction and Further Readings.13. The Family Changes Color: Interracial Families in Contemporary Hollywood Cinema: Nicola Evans.14. Black on White: Film Noir and the Epistemology of Race in Recent African American Cinema: Dan Flory.15. Being Chinese American, Becoming Asian American: Chan is Missing: Peter X Feng.16. The Wedding Banquet: Global Chinese Cinema and the Asian American Experience: Gina Marchetti.17. Another Fine Example of the Oral Tradition? Identification and Subversion in Sherman Alexie’s Smoke Signals: Jhon Warren Gilroy.18. Playing Indian in the Nineties: Pocahontas and The Indian in the Cupboard: Pauline Turner Strong.19. “You Are Alright, But…”: Individual and Collective Representations of Mexicans, Latinos, Anglo-Americans and African-Americans in Steven Soderbergh's Traffic: Deborah Shaw.Part IV: World Cinema, Joining Local and Global:.Introduction and Further Readings.20. Theorizing ‘Third-World’ Film Spectatorship: Hamid Naficy.21. The Open Image: Poetic Realism and the New Iranian Cinema: Shohini Chaudhuri and Howard Finn.22. The Seductions of Homecoming; Place, Authenticity, and Chen Kaige’s Temptress Moon: Rey Chow.23. Cultural Identity and Diaspora in Contemporary Hong Kong Cinema: Julian Stringer.24. “And Yet My Heart Is Still Indian”: The Bombay Film Industry and the (H)Indianization of Hollywood: Tejaswini Ganti.25. Future Past: Integrating Orality into Francophone West African Film: Melissa Thackway.Acknowledgments