Abstract
According to Elizabeth Ezra and Terry Rowden, transnational cinema respects cultural specificity as a powerful symbolic force at the same time as it transcends the national as an autonomous cultural particularity.1 Transnational cinema, therefore, finds its scope in the gaps between the local and the global, arising in the in-between spaces of culture and problematizing the notions of national and cultural purity. Homi K. Bhabha uses the notion of ‘in-between’ when he argues for the need to focus on those moments or processes that are produced in the articulation of cultural differences. These ‘inbetween’ spaces provide the terrain for elaborating strategies of selfhood — singular or communal — that initiate new signs of identity, and innovative sites of collaboration, and contestation, in the act of defining the idea of society itself.2
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Notes
Elizabeth Ezra and Terry Rowden (eds), Transnational Cinema: The Film Reader (London and New York: Routledge, 2006), p. 2.
Homi K. Bhabha, ‘Locations of Culture’, in Sanjeev Khagram and Peggy Levitt (eds), The Transnational Studies Reader. Intersections and Innovations (New York and London: Routledge, 2008), p. 333
Stuart Hall and Paul du Gay (eds), Questions of Cultural Identity (London: Sage, 1996), pp. 53–60.
Gloria Anzaldúa, Borderlands/La Frontera. The New Mestiza (San Francisco, CA: Aunt Lute Books, 2007 (1987)), p. 19.
Other recent relevant studies in transnationalism also include Ella Shohat and Robert Stam, Multiculturalism, Postcoloniality and Transnational Media (New Brunswick and NJ: Rutgers University Press, 2003)
Interpal Grewal, Multiculturalism: Feminisms, Diasporas, Neoliberalisms (Durham, NC and London: Duke University Press, 2005)
Sanjeev Khagram and Peggy Levitt (eds), The Transnational Studies Reader: Intersections and Innovations (London and New York: Routledge, 2008)
Jopi Nyman (ed.), Post-National Enquiries: Essays on Ethnic and Racial Border Crossing (Cambridge: Cambridge Scholars Publishing, 2009)
Steven Vertovec, Transnationalism (London: Routledge, 2009)
Paul Jay, Global Matters: The Transnational Turn in Literary Studies (Ithaca, NY: Cornell University Press, 2010)
Natasa Durovicova and Kathleen Newman (eds), World Cinemas, Transnational Perspectives (London: Routledge, 2010)
Steven Vertovec and Robin Cohen (eds), Conceiving Cosmopolitanism: Theory, Context and Practice (Oxford: Oxford University Press, 2002), p. 4.
David Held, ‘Culture and Political Community: National, Global and Cosmopolitan’, in Steven Vertovec and Robin Cohen (eds), Conceiving Cosmopolitanism: Theory, Context, and Practice (Oxford: Oxford University Press, 2002), p. 57.
Stuart Hall, ‘Political Belonging in a World of Multiple Identities’, in Steven Vertovec and Robin Cohen (eds), Conceiving Cosmopolitanism: Theory, Context and Practice (Oxford: Oxford University Press, 2002), p. 26.
Sarah Projansky, Watching Rape (New York and London: New York University Press, 2001), p. 73.
Diane Negra, ‘Romance and/as Tourism. Heritage Whiteness and the (Inter)National Imaginary in the New Woman’s Film’, in Elizabeth Ezra and Terry Rowden (eds), Transnational Cinema: The Film Reader (London and New York: Routledge, 2006), p. 169.
Hilary Radner, Neo-Feminist Cinema: Girly Films, Chick Flicks and Consumer Culture (London and New York: Routledge, 2011).
David Held, ‘Culture and Political Community: National, Global and Cosmopolitan’, in Steven Vertovec and Robin Cohen (eds.), Conceiving Cosmopolitanism: Theory, Context and Practice (Oxford: Oxford University Press, 2002), p. 57.
Hamid Naficy, ‘Situating Accented Cinema’, in Elizabeth Ezra and Terry Rowden (eds), Transnational Cinema: The Film Reader (London and New York: Routledge, 2006), p. 124.
For the concept of orientalism, see Edward W. Said, Orientalism: Western Conceptions of the Orient (London: Penguin, 1991 (1978)).
See Marina Warner, Fantastic Metamorphoses, Other Worlds: Ways of Telling the Self (Oxford: Oxford University Press, 2002).
Diane Negra, What a Girl Wants? Fantasizing the Reclamation of Self in Postfeminism (London and New York: Routledge, 2009), p. 2.
Angela McRobbie, ‘Post-feminism and Popular Culture’, Feminist Media Studies, 4: 3 (2004), p. 259.
Peter Koehn and James Rosenau, ‘Transnational Competence in an Emerging Epoch’, International Studies Perspectives, 3 (2002), pp. 105–127.
Ruth Williams, ‘Eat Pray Love: Producing the Female Neoliberal Spiritual Subject’, Journal of Popular Culture, 3: 2 (2001), p. 4.
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© 2013 Ana Moya
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Moya, A. (2013). Neo-Feminism In-Between: Female Cosmopolitan Subjects in Contemporary American Film. In: Gwynne, J., Muller, N. (eds) Postfeminism and Contemporary Hollywood Cinema. Palgrave Macmillan, London. https://doi.org/10.1057/9781137306845_2
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DOI: https://doi.org/10.1057/9781137306845_2
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