Volume 15, Numbers 1-2
This issue takes up philosophical questions of the border in film, including border cinema, multinational productions, theoretical investigations of liminal space and challenges to “world cinema” paradigms. If we are moving past notions of nation towards a borderless global order, how is this shift both reflected in and brought about by cinema? How have contemporary filmmakers negotiated languages, geographies and cultures across borders both literal and conceptual?
Contents
R. L. Rutsky
Walter Benjamin and the Dispersion of Cinema
J. Hillis Miller
Boundaries in Beloved
Pasi Väliaho
The White Screen circa 1900—On the Moving Image as Potentiality of Thought
R. Barton Palmer
The Divided Self and the Dark City: Film Noir and Liminality
Camilla Fojas
Bordersploitation: Hollywood Border Crossers and Buddy Cops
Tom Conley
Border Incidence
Paul McEwan
Satire as Magnifying Glass: Crossing the US Border in Bruce McDonald’s Highway 61
Darlene J. Sadlier
Leaving Home in Three Films by Walter Salles
Claudia Barbosa Nogueira
Roads to Nowhere: Borders and Belonging in Le Salaire de la peur
Mark A. Wolfgram
Gendered Border Crossings: The Films of Division in Divided Germany
Todd McGowan
Affirmation of the Lost Object: Peppermint Candy and the End of Progress
Horace L. Fairlamb
Romancing the Tao: How Ang Lee Globalized Ancient Chinese Wisdom
Darren Jorgensen
Death Star, or How I Learned to Stop Worrying and Love Globalization