Enhanced descriptions from Syndetics:

Ranging from pre-1930s Europe to contemporary "Bollywood" musicals, this extensive guide to international film covers areas as diverse as New German, Australian, Indian, and South American cinema. A team of international contributors explains the key arguments and debates involved in the study of world cinema and also provides an overview of the avant-garde, the documentary, and recent technological developments. Featuring illustrations throughout, further reading recommendations, and chapter summaries, World Cinema: Critical Approaches serves as an exceptional text for courses in film and media studies.

Table of contents provided by Syndetics

• List of Contributors (p. ix)
• List of Illustrations (p. xii)
• General Introduction (p. xiv)
• Redefining cinema: international and avant-garde alternatives (p. 1)
• 1 Concepts of national cinema (p. 1)
• 2 Modernism and the avant-gardes (p. 11)
• 3 Realism, modernism, and post-colonial theory (p. 29)
• Redefining cinema: other genres (p. 42)
• 4 The documentary (p. 42)
• 5 The animated film (p. 50)
• European cinema (p. 56)
• 6 Issues in European cinema (p. 56)
• Case-Studies: Movements, Moments, and Filmmakers (p. 65)
• 7 The avant-gardes and European cinema before 1930 (p. 65)
• 8 Italian post-war cinema and Neo-Realism (p. 71)
• 9 The French Nouvelle Vague (p. 77)
• 10 New German Cinema (p. 82)
• 11 East Central European cinema (p. 87)
• 12 European film policy and the response to Hollywood (p. 94)
• 13 Directors and stars (p. 102)
• (a) Jean Renoir (p. 102)
• (b) Ingmar Bergman (p. 104)
• (c) Chantal Akerman (p. 105)
• (d) Pedro Almodovar (p. 107)
• (e) Luc Besson (p. 110)
• (f) Brigitte Bardot (p. 112)
• Anglophone national cinemas (p. 117)
• Case-Studies (p. 117)
• 14 British cinema (p. 117)
• 15 Ireland and cinema (p. 126)
• 16 Australian cinema (p. 132)
• 17 Canadian cinema (p. 139)
• World cinema (p. 143)
• 18 Issues in world cinema (p. 143)
• Case-Studies: Cinemas of the World (p. 151)
• 19 Indian cinema (p. 151)
• Reading: Popular Hindi cinema (p. 157)
• 20 Chinese cinema (p. 159)
• 21 Hong Kong cinema
• (a) Discovery and pre-discovery (p. 166)
• (b) China and 1997 (p. 170)
• 22 Talwanese New Cinema (p. 173)
• 23 Japanese cinema (p. 178)
• 24 African cinema (p. 185)
• Reading: Hyenas (p. 192)
• 25 South American cinema (p. 194)
• Redefining cinema: film in a changing age (p. 211)
• 26 Film and changing technologies (p. 211)
• 27 Film and television (p. 221)
• List of Picture Sources and Readings (p. 228)
• Index of Selected Names and Film Titles (p. 229)