1 Global Cinema of the World has become more visible
1.1 Western European New Waves
France
Italy
Germany
1.2 Eastern European New Waves
Czechoslovakia
Poland
Hungary
Yugoslavia
USSR
1.3 Third World
Africa
Latin America
Asia
1.4 Asian Cinema
China
Taiwan
Hong Kong
2 Hollywood Cinema has extended its reach on screens around the world
2.1 Global Hollywood 2 introduction
Hollywood has generated as much revenue overseas than it does
at home (10)
Hollywood’s proportion of the world market is double what it
was in 1990 (10).
Hollywood accounts for a majority of tv/video/theatrical
programming on screens around the world (22–28).
3 The dominant mode of cinema remains Hollywood inspired
3.1 narrative films
3.2 fiction films
3.3 identifiable protagonists
3.4 resolvable conflicts
3.5 happy endings
4 Attempts to combat Hollywood (foreign) domination
4.1 establish academies
4.2 institute import quotas and tariffs
4.3 support local production
4.4 foster national identity
4.5 engage in international co-productions
5 Global nature of Slumdog Millionaire (2008)
5.1 British production
5.2 Indian subjects
5.3 Global media culture
6 Criticisms of Slumdog Millionaire
6.1 poverty porn
6.2 Orientalist exploitation of India
6.3 representative of nation (politics of representation)
7 Keeping the Politics of Representation Alive
7.1 racism and multiculturalism
resistance
identity politics
post-coloniality
Third Worldism
7.2 Can the Subaltern Speak? (Spivak)
who gets to speak
where?
how?
and to represent whom?
8 Battleground: issues of Cultural and National Representation
8.1 transnational production
British director: Danny Boyle
Indian director: Loveleen Tandan
British writer: Simon Beaufoy
Indian novelist: Viakas Swarup
British Production company: Celador Films/Film 4
Indian cast & location
8.2 reception
British Academy Awards
Golden Globes
8.3 criticized
British Director and Screenwriter
neocolonialist misrepresentation of Indian
masquerading as globalized or world cinema
8.4 Serious film?
Hindu-Muslim violence
child prostitution
gang violence
poverty
Ebert: glimpse of real India
India of Mother Teresa
primitive
inferior
exotic
Shyama Sengupta
Western films view of India: poverty tour
Robert Koheler’s review
Boyle’s feverish, woozy, drunken thoroughly contrived
picaresque…conveniently packages misrepresentations about
India
who gets to represent whom?
when one powerful culture speaks for another…
consumption of difference in ordinance with the
homogenizing tendency to reprise the values and
parameters of the culturally dominant Self
it bears the postcolonial struggle
9 Must the Nation Speak?
9.1 globalization
risen since the 1980s and 1990 collapse of Communist bloc
nation-states are weak political agents
mobility of production
emphasis on information technology
growth of multinational corporations
historical turning point
displacing models of center-periphery
domination and subjection
9.2 third world allegory/third world cinema
Slumdog is neither
it is not a First World view of Third World
As a transnational encounter between First and Third World,
the Third World must always be “authentic”
depart from the hierarchical structure of film criticism
whereby the Third World must always respond from a colonized
position, always forced to fight over nationalist issues of
representations