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The Cinema of Small Nations
Edited by Mette Hjort and Duncan Petrie
Published by: Indiana University Press
256 Pages
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The Cinema of Small Nations is the first major analysis of small national cinemas, comprising 12 case studies of small national—and sub national—cinemas from around the world, including Ireland, Denmark, Iceland, Scotland, Bulgaria, Tunisia, Burkina Faso, Cuba, Singapore, Taiwan, Hong Kong, and New Zealand. Written by an array of distinguished and emerging scholars, the case studies provide detailed analyses of the particular cinema in question, with an emphasis on the last decade, considering both institutional and textual issues relevant to the national dimension of each cinema. While each chapter offers an in-depth analysis of an individual cinema, the book as a whole provides the basis for a broader and more properly comparative understanding of small or minor national cinemas and their increasing significance within the international domain of moving image production, distribution, and consumption.
Introduction
Mette Hjort and Duncan Petrie
PART ONE: EUROPE
1. Denmark
Mette Hjort
2. Iceland
Björn Norðfjörð
3. Ireland
Martin McLoone
4. Scotland
Jonathan Murray
5. Bulgaria
Dina Iordanova
PART TWO: ASIA AND OCEANIA
6. Hong Kong
Ackbar Abbas
7. Singapore
See Kam Tan and Jeremy Fernando
8. Taiwan
James Udden
9. New Zealand
Duncan Petrie
PART THREE: THE AMERICAS AND AFRICA
10. Cuba
Ana M. López
11. Burkina Faso
Eva Jørholt
12. Tunisia
Florence Martin
Notes on Contributors
Index
Mette Hjort is Professor and Program Director of Visual Studies at Lingnan University in Hong Kong. She is author of The Strategy of Letters; Small Nation, Global Cinema; and Stanley Kwan's Center Stage. She lives in Hong Kong.
Duncan Petrie is Professor of Film at the University of Auckland, New Zealand. His books include Creativity and Constraint in the British Cinema, Screening Scotland, and Contemporary Scottish Fictions. He lives in Auckland, New Zealand.
". . . these timely, eye-opening essays examine the struggles faced by small-nation filmmakers wishing to break into the international film market, which is dominated by Hollywood, and take back (from Hollywood) a substantial slice of their country's box office. . . . Recommended."
~Choice