Editorial
Published 2018-07-01
Keywords
- Globalization,
- Transnationality,
- Esthetics,
- Transmediality,
- Global South
- Neoliberalism,
- Myths. ...More
How to Cite
González de Canales, J., & Türschmann, J. (2018). Aesthetic dialogues, medial confluences and political voice. L’Atalante. Journal of Film Studies, (26), 7–10. https://doi.org/10.63700/660
Abstract
The global context affects literature, cinema and television like never before. The aesthetic strategies of the Hispanic world are aimed at an international reception with the help of music, dance, auteur cinema, as well as traditional motifs, myths, clichés and criticism of neoliberalism. In this way, they offer an image of the global South to the rest of the world. In view of these multifaceted aspects, the articles that make up this number are framed in the tradition of global and transmedial comparative studies.
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References
<p><span dir="RTL">Ď</span>urovi<span dir="RTL">č</span>ová,N., Newman, K. (eds.) (2010).<em>World Cinemas, Transnational Perspectives</em>. Nueva York: Routledge.<br>
Ette, O. (2015). Desde la filología de la literatura mundial hacia una polilógica filología de las literaturas del mundo. En Müller, G., Gras Miravet, D. (eds.), <em>América Latina y la literatura mundial. Mercado editorial, redes globales y la invención de un continente </em>(pp. 323-267)<em>.</em> Madrid, Frankfurt am Main: Iberoamericana, Vervuert.<br>
Hilmes, M. (2014). Transnational TV: What Do We Mean by Coproduction Anymore? <em>Media Studies</em>, <em>1</em>(2), 10-15.<br>
Naficy, H. (1996). Phobic Spaces and Liminal Panics: Independent Transnational Film Genre. En Wilso, R. A., Dissanayake, W. (eds.), <em>Global-Local: Cultural Production and the Transnational Imaginary</em> (pp. 119–144). Durham, Londres: Duke University Press.<br>
— (2001). <em>An Accented Cinema: Exilic and Diasporic Filmmaking</em>. Princeton, Oxford: Princeton University Press.<br>
Nagib, L. (2012). <em>Theorizing World Cinema. </em>Londres: I.B. Tauris.<br>
— (2013). <em>Impure Cinema: Intermedial and Intercultural Approaches to Film</em>. Londres: I.B. Tauris.<br>
Shohat, E., Stam, R. (eds.) (2003). <em>Multiculturalism, Postcoloniality and Transnational Media. </em>Nuevo Brunswick, Nueva Jersey, Londres: Rutgers University Press.<br>
Stanford Friedman, S. (2012). World Modernisms, World Literature and Comparativity. En Wollaeger, M., Eatough, M. (eds.), <em>The Oxford Handbook of Global Modernisms</em> (pp. 499-528). Oxford, Nueva York: Oxford University Press.</p>
Ette, O. (2015). Desde la filología de la literatura mundial hacia una polilógica filología de las literaturas del mundo. En Müller, G., Gras Miravet, D. (eds.), <em>América Latina y la literatura mundial. Mercado editorial, redes globales y la invención de un continente </em>(pp. 323-267)<em>.</em> Madrid, Frankfurt am Main: Iberoamericana, Vervuert.<br>
Hilmes, M. (2014). Transnational TV: What Do We Mean by Coproduction Anymore? <em>Media Studies</em>, <em>1</em>(2), 10-15.<br>
Naficy, H. (1996). Phobic Spaces and Liminal Panics: Independent Transnational Film Genre. En Wilso, R. A., Dissanayake, W. (eds.), <em>Global-Local: Cultural Production and the Transnational Imaginary</em> (pp. 119–144). Durham, Londres: Duke University Press.<br>
— (2001). <em>An Accented Cinema: Exilic and Diasporic Filmmaking</em>. Princeton, Oxford: Princeton University Press.<br>
Nagib, L. (2012). <em>Theorizing World Cinema. </em>Londres: I.B. Tauris.<br>
— (2013). <em>Impure Cinema: Intermedial and Intercultural Approaches to Film</em>. Londres: I.B. Tauris.<br>
Shohat, E., Stam, R. (eds.) (2003). <em>Multiculturalism, Postcoloniality and Transnational Media. </em>Nuevo Brunswick, Nueva Jersey, Londres: Rutgers University Press.<br>
Stanford Friedman, S. (2012). World Modernisms, World Literature and Comparativity. En Wollaeger, M., Eatough, M. (eds.), <em>The Oxford Handbook of Global Modernisms</em> (pp. 499-528). Oxford, Nueva York: Oxford University Press.</p>