Cinema as Intercultural Communication

doi:10.1017/9781108555067.021

17 - Cinema as Intercultural Communication

from Part III - Methods

Published online by Cambridge University Press: 18 February 2020

Joanne Leal

Edited by

Guido Rings and

Sebastian Rasinger

Show author details

Guido Rings: Affiliation:
Anglia Ruskin University, Cambridge
Sebastian Rasinger: Affiliation:
Anglia Ruskin University, Cambridge

Book contents

Get access

Summary

Joanne Leal’s chapter investigates how far and how exactly cinema is able to offer a representational counterbalance to conservative notions of national belonging and exclusionary constructions of what social cohesion should mean. It considers these issues mainly within a Western European framework, asking what film can do to promote intercultural sensitivities within contemporary European contexts in which attitudes to the impact of globalization and particularly the transnational movement of people are often ambivalent and sometimes actively hostile. In particular it examines critical assessments of the positive intercultural impact of watching foreign cinema, the possible political effects of films which encourage empathetic responses to transnational tales contained in generically familiar forms and the critical potential of two kinds of film which uses less conventional cinematic means to represent a globalized social world.

Keywords

intercultural communication European cinema transnationalism globalization intercultural literacy film

Information

Type: Chapter
Information: The Cambridge Handbook of Intercultural Communication , pp. 286 - 301

DOI: https://doi.org/10.1017/9781108555067.021 [Opens in a new window]

Publisher: Cambridge University Press

Print publication year: 2020

Access options

Get access to the full version of this content by using one of the access options below. (Log in options will check for institutional or personal access. Content may require purchase if you do not have access.)

Book purchase

Temporarily unavailable

References

Akin, F. (2007). The Edge of Heaven (original German: Auf der anderen Seite). Germany, Turkey and Italy: Anka Film.Google Scholar

Bennett, B. (2016). Ignorance and inequality: teaching with transnational cinema. In Marciniak, K. and Bennett, B., eds, Teaching Transnational Cinema. Politics and Pedagogy. London and New York: Routledge, pp. 39–58.Google Scholar

Brecht, B. (1963). Anmerkungen zur Oper ‘Aufstieg und Fall der Stadt Mahagonny (1930). In Brecht, B., ed., Schriften zum Theater 2 1918–1933. Frankfurt am Main: Suhrkamp, pp. 109–26.Google Scholar

Crozet, C. and Liddicoat, A. J. (1999). The challenge of intercultural language teaching: engaging with culture in the classroom. In Lo Bianco, J., Liddicoat, A. J. and Crozet, C., eds., Striving for the Third Place: Intercultural Competence through Language Education. Melbourne: Language Australia, pp. 113–25.Google Scholar

Desser, D. (2012). Teaching Japanese cinema. In Fischer, L. and Petro, P., eds, Teaching Film. New York: Modern Language Association of America, pp. 134–44.Google Scholar

Ezra, E. and Rowden, T. (2006). General introduction: what is transnational cinema? In Ezra, E. and Rowden, T., eds., Transnational Cinema: The Film Reader. London and New York: Routledge, pp. 1–12.Google Scholar

Fassbinder, R. W. (1974). Ali: Fear Eats the Soul (original German: Angst essen Seele auf). West Germany: Filmverlag der Autoren.Google Scholar

Frears, S. (2002). Dirty Pretty Things. UK: BBC.Google Scholar

Gibson, S. (2006). Border politics and hospitable spaces in Stephen Frears’s Dirty Pretty Things. Third Text, 20(6), 693–701.Google Scholar

Gilroy, P. (2007). Shooting crabs in a barrel. Screen, 48(2), 233–5.Google Scholar

Hall, S. (1989). Cultural identity and cinematic representation. Framework: The Journal of Cinema and Media, 36, 68–81.Google Scholar

Haneke, M. (2000). Code Unknown (original French: Code inconnu: Récit incomplete de divers voyages). France, Austria and Romania: Arte France Cinéma.Google Scholar

Haneke, M. (2005). Hidden (original French: Caché). France, Austria and Germany and Italy: Les Films du Losange,Google Scholar

Higson, A. (1996). The heritage film and British cinema. In Higson, A., ed., Dissolving Views: Key Writings on British Cinema. Bloomsbury: London and New York, pp. 232–48.Google Scholar

Higson, A. (2006). The limiting imagination of national cinema. In Ezra, E. and Rowden, T., eds., Transnational Cinema: The Film Reader. London and New York: Routledge, pp. 15–25.Google Scholar

Hudson, H. (1981). Chariots of Fire. UK: Twentieth Century Fox.Google Scholar

Ivory, J. (1992). Howards End. UK, Japan and USA: Merchant Ivory Productions.Google Scholar

Lean, D. (1985). A Passage to India. UK and USA: EMI Films.Google Scholar

Lykidis, A. (2016). A pedagogy of humility: teaching European films about immigration. In Marciniak, K. and Bennett, B., eds, Teaching Transnational Cinema. Politics and Pedagogy. London and New York: Routledge, pp. 59–77.Google Scholar

Marciniak, K. and Bennett, B. (2016). Introduction: teaching transnational cinema; politics and pedagogy. In Marciniak, K. and Bennett, B., eds, Teaching Transnational Cinema. Politics and Pedagogy. London and New York: Routledge, pp. 1–35.Google Scholar

Marks, L. U. (2000). The Skin of Film: Intercultural Cinema, Embodiment, and the Senses. Durham and London: Duke University Press.Google Scholar

McCarthy, T. (2007). The Visitor. USA: Groundswell Productions.Google Scholar

Meirelles, F. and Lund, K. (2002). City of God. Brazil and France: O2 Filmes.Google Scholar

Moodysson, L. (2002). Lilja 4-ever. Sweden and Denmark: Film i Väst.Google Scholar

Patterson, S. F. (1999). Fassbinder’s Ali: Fear Eats the Soul and the expropriation of a national ‘Heim’. Post Script: Essays in Film and the Humanities, 18(3), 46–57.Google Scholar

Pegrum, M. (2008). Film, cultural and identity: critical intercultural literacies for the language classroom. Language and Intercultural Communication, 8(2), 136–54.Google Scholar

Rawle, S. (2018). Transnational Cinema: An Introduction. London: Palgrave.Google Scholar

Rings, G. (2016). The Other in Contemporary Migrant Cinema: Imagining a New Europe? Abingdon, UK and New York: Routledge.Google Scholar

Rings, G. (2017). Transkulturelle Ansätze im Neuen Deutschen Film. Zur Grenzauflösung in Fassbinders ‘Angst essen Seele auf’ (1974). In Alkin, Ö., ed., Deutsch-Türkische Filmkultur im Migrationskontext. Wiesbaden: Springer, pp. 45–72.Google Scholar

Shoard, C. (2002). Call me a sentimental idiot. Sunday Telegraph, 3 December. www.telegraph.co.uk/culture/film/3586590/Call-me-a-sentimental-idiot.html (last accessed 22 August 2018).Google Scholar

Shohat, E. (2006). Post-third worldist culture: gender, nation, and the cinema. In Ezra, E. and Rowden, T., eds., Transnational Cinema: The Film Reader. London and New York: Routledge, pp. 39–56.Google Scholar

Shohat, E. and Stam, R. (1994). Unthinking Eurocentrism: Multiculturalism and the Media. New York: Routledge.Google Scholar

Sirk, D. (1955). All That Heaven Allows. USA: Universal International Pictures.Google Scholar

Stoehr, K. L. (2010). Haneke’s secession: perspectivism and anti-nihilism in Code Unknown and Caché. In Grundmann, R., ed., A Companion to Michael Haneke, Malden, MA and Oxford: Wiley Blackwell, pp. 477–94.Google Scholar

Vidal, B. (2012). Heritage Film: Nation, Genre and Representation. London and New York: Wallflower.Google Scholar

Wheatley, C. (2009). Michael Haneke’s Cinema: The Ethic of the Image. New York and Oxford: Berghahn.Google Scholar

Winterbottom, M. (2002). In This World. UK: The Film Consortium.Google Scholar

Accessibility standard: Unknown

Why this information is here

This section outlines the accessibility features of this content - including support for screen readers, full keyboard navigation and high-contrast display options. This may not be relevant for you.

Accessibility Information

Accessibility compliance for the HTML of this chapter is currently unknown and may be updated in the future.