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1. The concept of world music stands accused of being simply a ‘marketing device’? Does the same stand for ‘world cinema’?

2. The concept of ‘national cinemas’ reduces the study of film to a simple touristic itinerary. Discuss.

3. Is the time of ‘third cinema’ past? Explore the emergence of ‘third cinema’ and assess its relevance in the contemporary period.

4. In what sense might it be argued that there can be links between ‘world cinema’ and market liberalisation? Be sure to give geographic examples.

5. Critically assess the advantages and disadvantages of international co-production in ‘world cinema’. Illustrate your answer with specific examples.

6. In what sense might it be argued that film festivals shape audience appreciation of ‘world cinema’?

7. How has the concept of ‘authenticity’ been mobilised in discussions of post-colonial thought and what impact might this have for a certain vision of ‘world cinema’?

8. How has the concept of “underdevelopment” been treated within “world cinema”? Make sure to include both an understanding of the political motivations of such a term and analyses of particular film styles in your answer.

9. How might the various definitions of “the popular” allow us to understand both the diverse tactics by which “world cinema” reaches its audiences and the terms under which it does so?

10. How can Hamid Naficy’s concept of ‘an accented cinema’ help us understand exilic and diasporic filmmaking?

11. How might the many theories and understandings of migration enable an expanded comprehension of what “world cinema” is and does? `

Ensure that you draw upon appropriate reading of primary theoretical texts, as well as commentaries on cinema.

Include analyses of at least one film.
Then look no further.

Strategies of World Cinema

Choose one question (I will upload some relevant materials after we settle the question):

1. The concept of world music stands accused of being simply a ‘marketing device’? Does the same stand for ‘world cinema’?

2. The concept of ‘national cinemas’ reduces the study of film to a simple touristic itinerary. Discuss.

3. Is the time of ‘third cinema’ past? Explore the emergence of ‘third cinema’ and assess its relevance in the contemporary period.

4. In what sense might it be argued that there can be links between ‘world cinema’ and market liberalisation? Be sure to give geographic examples.

5. Critically assess the advantages and disadvantages of international co-production in ‘world cinema’. Illustrate your answer with specific examples.

6. In what sense might it be argued that film festivals shape audience appreciation of ‘world cinema’?

7. How has the concept of ‘authenticity’ been mobilised in discussions of post-colonial thought and what impact might this have for a certain vision of ‘world cinema’?

8. How has the concept of “underdevelopment” been treated within “world cinema”? Make sure to include both an understanding of the political motivations of such a term and analyses of particular film styles in your answer.

9. How might the various definitions of “the popular” allow us to understand both the diverse tactics by which “world cinema” reaches its audiences and the terms under which it does so?

10. How can Hamid Naficy’s concept of ‘an accented cinema’ help us understand exilic and diasporic filmmaking?

11. How might the many theories and understandings of migration enable an expanded comprehension of what “world cinema” is and does? `

Ensure that you draw upon appropriate reading of primary theoretical texts, as well as commentaries on cinema.

Include analyses of at least one film.

Strategies of World Cinema

Choose one question (I will upload some relevant materials after we settle the question):

1. The concept of world music stands accused of being simply a ‘marketing device’? Does the same stand for ‘world cinema’?

2. The concept of ‘national cinemas’ reduces the study of film to a simple touristic itinerary. Discuss.

3. Is the time of ‘third cinema’ past? Explore the emergence of ‘third cinema’ and assess its relevance in the contemporary period.

4. In what sense might it be argued that there can be links between ‘world cinema’ and market liberalisation? Be sure to give geographic examples.

5. Critically assess the advantages and disadvantages of international co-production in ‘world cinema’. Illustrate your answer with specific examples.

6. In what sense might it be argued that film festivals shape audience appreciation of ‘world cinema’?

7. How has the concept of ‘authenticity’ been mobilised in discussions of post-colonial thought and what impact might this have for a certain vision of ‘world cinema’?

8. How has the concept of “underdevelopment” been treated within “world cinema”? Make sure to include both an understanding of the political motivations of such a term and analyses of particular film styles in your answer.

9. How might the various definitions of “the popular” allow us to understand both the diverse tactics by which “world cinema” reaches its audiences and the terms under which it does so?

10. How can Hamid Naficy’s concept of ‘an accented cinema’ help us understand exilic and diasporic filmmaking?

11. How might the many theories and understandings of migration enable an expanded comprehension of what “world cinema” is and does? `

Ensure that you draw upon appropriate reading of primary theoretical texts, as well as commentaries on cinema.

Include analyses of at least one film.