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    Transatlantic Cinephilia: Film Culture between Latin America and France, 1945–1965
    Relaying Cinema in Midcentury Iran: Material Cultures in Transit
    Ebook series2 titles

    Cinema Cultures in Contact Series

    By Kaveh Askari and Rielle Navitski

    ()

    About this series

    In the two decades after World War II, a vibrant cultural infrastructure of cineclubs, archives, festivals, and film schools took shape in Latin America through the labor of film enthusiasts who often worked in concert with French and France-based organizations. In promoting the emerging concept and practice of art cinema, these film-related institutions advanced geopolitical and class interests simultaneously in a polarized Cold War climate. Seeking to sharpen viewers' critical faculties as a safeguard against ideological extremes, institutions of film culture lent prestige to Latin America's growing middle classes and capitalized on official and unofficial efforts to boost the circulation of French cinema, enhancing the nation's soft power in the wake of military defeat and occupation. As the first book-length, transnational analysis of postwar Latin American film culture, Transatlantic Cinephilia deepens our understanding of how institutional networks have nurtured alternative and nontheatrical cinemas.
    LanguageEnglish
    PublisherUniversity of California Press
    Release dateJan 25, 2022
    Transatlantic Cinephilia: Film Culture between Latin America and France, 1945–1965
    Relaying Cinema in Midcentury Iran: Material Cultures in Transit

    Titles in the series (2)

    • 2

      Relaying Cinema in Midcentury Iran: Material Cultures in Transit
      Relaying Cinema in Midcentury Iran: Material Cultures in Transit

      Relaying Cinema in Midcentury Iran: Material Cultures in Transit

      Kaveh Askari
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      Relaying Cinema in Midcentury Iran investigates how the cultural translation of cinema has been shaped by the physical translation of its ephemera. Kaveh Askari examines film circulation and its effect on Iranian film culture in the period before foreign studios established official distribution channels and Iran became a notable site of world cinema. This transcultural history draws on cross-archival comparison of films, distributor memos, licensing contracts, advertising schemes, and audio recordings. Askari meticulously tracks the fragile and sometimes forgotten material of film as it circulated through the Middle East into Iran and shows how this material was rerouted, reengineered, and reimagined in the process.  

      Relaying Cinema in Midcentury Iran investigates how the cultural translation of cinema has been shaped by the physical translation of its ephemera. Kaveh Askari examines film circulation and its effect on Iranian film culture in the period before foreign studios established official distribution channels and Iran became a notable site of world cinema. This transcultural history draws on cross-archival comparison of films, distributor memos, licensing contracts, advertising schemes, and audio recordings. Askari meticulously tracks the fragile and sometimes forgotten material of film as it circulated through the Middle East into Iran and shows how this material was rerouted, reengineered, and reimagined in the process.  

    • 6

      Transatlantic Cinephilia: Film Culture between Latin America and France, 1945–1965
      Transatlantic Cinephilia: Film Culture between Latin America and France, 1945–1965

      Transatlantic Cinephilia: Film Culture between Latin America and France, 1945–1965

      Rielle Navitski
      0 ratings
      0 ratings

      In the two decades after World War II, a vibrant cultural infrastructure of cineclubs, archives, festivals, and film schools took shape in Latin America through the labor of film enthusiasts who often worked in concert with French and France-based organizations. In promoting the emerging concept and practice of art cinema, these film-related institutions advanced geopolitical and class interests simultaneously in a polarized Cold War climate. Seeking to sharpen viewers' critical faculties as a safeguard against ideological extremes, institutions of film culture lent prestige to Latin America's growing middle classes and capitalized on official and unofficial efforts to boost the circulation of French cinema, enhancing the nation's soft power in the wake of military defeat and occupation. As the first book-length, transnational analysis of postwar Latin American film culture, Transatlantic Cinephilia deepens our understanding of how institutional networks have nurtured alternative and nontheatrical cinemas.

      In the two decades after World War II, a vibrant cultural infrastructure of cineclubs, archives, festivals, and film schools took shape in Latin America through the labor of film enthusiasts who often worked in concert with French and France-based organizations. In promoting the emerging concept and practice of art cinema, these film-related institutions advanced geopolitical and class interests simultaneously in a polarized Cold War climate. Seeking to sharpen viewers' critical faculties as a safeguard against ideological extremes, institutions of film culture lent prestige to Latin America's growing middle classes and capitalized on official and unofficial efforts to boost the circulation of French cinema, enhancing the nation's soft power in the wake of military defeat and occupation. As the first book-length, transnational analysis of postwar Latin American film culture, Transatlantic Cinephilia deepens our understanding of how institutional networks have nurtured alternative and nontheatrical cinemas.

    Author

    Kaveh Askari

    Kaveh Askari is Associate Professor and Director of the Film Studies Program at Michigan State University. He is author of Making Movies into Art.   

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