This edited volume addresses the phenomenon called globalization by highlighting its neoliberal origins and critiquing its disguising as human destiny from three levels of contemporary culture: existential, national, and transnational. Exposing the masquerading of neoliberal globalization as the perpetual peace after the end of history, the authors of this volume to different extents all call upon us to reflect on its Capital-driven and Western-centric nature and operations, with a view to facilitate its end and explore the possibility of a new phase of global collaborations through which we can tackle the roots of the natural and man-made catastrophes incurred by neoliberal globalization.
The coronavirus pandemic that broke out in 2019 has finally calmed down in China, after the bungling occasioned by the iron hand of lockdown. But beginning in March 2020, the disaster spread abroad, a
In 1955 the Fortune magazine list of America's largest corporations included just 18 with headquarters in the Southeast. By 2002 the number had grown to 123. In fact, the South attracted over half of
In Chinese Cinema: Identity, Power, and Globalization, a variety of scholars explore the history, aesthetics, and politics of Chinese cinema as the Chinese film industry grapples with its place as the second largest film industry in the world. Exploring the various ways that Chinese cinema engages with global politics, market forces, and film cultures, this edited volume places Chinese cinema against an array of contexts informing the contours of Chinese cinema today. The book also demonstrates that Chinese cinema in the global context is informed by the intersections and tensions found in Chinese and world politics, national and international co-productions, the local and global in representing Chineseness, and the lived experiences of social and political movements versus screened politics in Chinese film culture. This work is a pioneer investigation of the topic and will inspire future research by other scholars of film studies.
This book provides a political and cultural exploration of the Pusan International Film Festival in South Korea since its inception in 1996. By paying a particular attention to the organizers' use of
