Relevant bibliographies by topics / Peripheral cinema

Academic literature on the topic 'Peripheral cinema'

Author: Grafiati
Published: 26 July 2024

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Journal articles on the topic "Peripheral cinema"

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Swetha.S. "CONTEMPORARY TAMIL CINEMA & DISCUSSIONS ON CASTE IDENTITY." Journal of English Language and Literature 09, no. 01 (2022): 74–80. http://dx.doi.org/10.54513/joell.2022.9108.

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Cinema is a popular medium of art. In earlier days, cinema in India did deal with social problems in a peripheral way. It often failed to address the social realities, especially caste disparities. Cate issues were always portrayed as economic backwardness. But recent times have witnessed that popular and commercial cinema has begun to open up towards the discussions of gender and caste. In the case of caste discussion, it is the Tamil Cinema industry that creates more movies on it. Tamil cinema is comparatively rich with Dalit representations in the arena of filmmaking. Some directors, writers, and actors initiated the discussions of caste hierarchy in popular cinema. The political situations of Tamil Nadu have been a deep influence in molding these directors and their courageous ventures of popular cinema with Dalit subjects. Dravidian Ideology, Mandal politics, and the recent revival of Ambedkarite politics have been fuel for this. Still, fitting Dalit issues into the frames of the popular and commercial film have both pros as well as cons. Hence, this article analyses the relevance of the socio-political situations of Tamil Nadu in initiating mainstream Dalit cinemas. It also looks into the pros and cons of the popular narrative of Dalit subjects.
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Clinefelter, Joan, and Kenneth S. Calhoon. "Peripheral Visions: The Hidden Stages of Weimar Cinema." German Studies Review 25, no. 2 (May 2002): 379. http://dx.doi.org/10.2307/1433030.

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Mennel, Barbara, and Kenneth S. Calhoon. "Peripheral Visions: The Hidden Stages of Weimar Cinema." German Studies Review 26, no. 2 (May 2003): 426. http://dx.doi.org/10.2307/1433372.

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Jeong, Seung-hoon. "World Cinema in a Global Frame." Studies in World Cinema 1, no. 1 (April 29, 2021): 29–38. http://dx.doi.org/10.1163/26659891-0000b0006.

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Abstract The “world” in film studies has been the “other” of the world’s empire, with Hollywood taking American exceptionalism. It unfolds as the stage of identity politics representing all the rest of the world as postcolonial, peripheral, or merely different than Hollywood. However, this “political” model becomes challengeable as the world’s ongoing homogenization blurs old boundaries while causing “ethical” deadlocks such as the vicious interlocking between (neo)liberal multiculturalism and fundamentalist terrorism. The notions of subjectivity and society also undergo new crises and changes permeating the entire world beyond the established national or transnational frames of the world. Against this backdrop, world cinema can be reframed not for a world tour of territorialized national cinemas or transnational deterritorialization but a critical remapping of many contemporary films reflecting global phenomena even in localized narrative space. Locality functions here less as the basis of identity, referring to a unique reality that both resists and requires the center’s endorsement, than as a contingent springboard for addressing the concrete universality of the world system, including the center. This approach brings a global frame of world cinema.
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Lyra, Bernadette. "Cinema periférico de bordas." Comunicação Mídia e Consumo 6, no. 15 (September 10, 2009): 31–47. http://dx.doi.org/10.18568/cmc.v6i15.145.

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Resumo O cinema de bordas é produzido por realizadores autodidatas, moradores de cidades pequenas ou de arredores das grandes capitais. Os filmes periféricos têm um público específico e apresentam características alternativas que estão voltadas para o entretenimento. Esses filmes são produtos adaptados às regiões, ao modo de vida e ao imaginário popular e massivo das comunidades envolvidas no processo de sua produção. Palavras-chave: Cinema de bordas; filmes periféricos; paracinema; estilo cinematográfico; consumo alternativo. Resumen El cine de bordes es producido por directores autodidactas, moradores de las pequeñas ciudades o de los suburbios de las grandes capitales. Las películas periféricas tienen un público específico y son alternativas volcadas al entretenimiento. Estas películas son productos adaptados a las regiones, al modo de vida y al imaginario popular y masivo de las comunidades envueltas en el proceso de su producción. Palabras-clave: Cine de bordes; películas periféricas; paracinema; estilo cinematográfico; alternativas de consumo. Abstract Borderline cinema is produced by self taught directors, people from small towns or from the outskirts of big capitals. Peripheral movies have specific audiences and they exhibit a mixture of alternatives meant for entertainment. These films are tailor made in order to address specific regions, the way of life and the popular imagination and massive communities involved in the process of each production. Keywords: Borderline cinema; peripheral movies; paracinema; cinematographic style; alternative consumption.
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Stelmach, Miłosz. "Escape from the periphery. World-system of cinema and Polish film." Studia Filmoznawcze 45 (July 16, 2024): 35–60. http://dx.doi.org/10.19195/0860-116x.45.2.

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The main aim of this text is to outline the possibilities of applying Immanuel Wallerstein’s world-systems theory to the analysis of cinema. Concepts developed by Wallerstein, especially the notion of the relationship between the core and the periphery of international political-economic systems, can be useful in trying the hegemony of Hollywood cinema in the global circulation of film content, as well as the positions smaller film industries occupy in relation to it. The assumptions of this theory will be tested using the example of the cinema of Central and Eastern Europe in recent decades, making it possible to determine its relative hierarchy in the global chain of production and consumption of audiovisual content. Special attention has been focused on Poland, presented as a model example of a local film industry attempting to emerge from the peripheral position it occupied after the political transformation of 1989.
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Zhabskiy, Mikhail Ivanovich. "Can “Native” Cinema Be Marketable." Journal of Flm Arts and Film Studies 4, no. 4 (December 15, 2012): 119–34. http://dx.doi.org/10.17816/vgik44119-134.

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The author substantiates the innovative trend in the revival and development of Russian film production on the basis of the sociological analysis of the problem as far as the marketability and ways of its recovery within the frames of the state film policy are concerned. Since the solution of the peripheral issues depends on the still unsolved general questions the article preliminarily worked up at the State Institute of Arts Studies explores the historical and theoretical aspects of the problem.
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Zhabskiy, Mikhail Ivanovich. "Can “Native” Cinema Be Marketable." Journal of Flm Arts and Film Studies 5, no. 1 (February 15, 2013): 108–25. http://dx.doi.org/10.17816/vgik51108-125.

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The author substantiates the innovative trend in the revival and development of the Russian film production on the basis of the sociological analysis of the problem as far as the marketability and ways of its recovery within the frames of the state film policy are concerned. Since the solution of the peripheral issues depends on the still unsolved general questions the article preliminarily worked up at the State Institute of Arts Studies explores the historical and theoretical aspects of the problem.
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Virginás, Andrea. "Female stardom in contemporary Romanian new wave cinema." Alphaville: Journal of Film and Screen Media, no. 10 (December 16, 2015): 76–95. http://dx.doi.org/10.33178/alpha.10.05.

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This article analyses film roles, red-carpet appearances and nonfilmic performances of three of the most well-known and admired actresses of the Romanian New Wave (Luminița Gheorghiu, Maria Popistașu and Anamaria Marinca). Their unglamorous female stardom is paradoxical if considered from the standpoint of mainstream/dominant cinema and the tradition described by Jackie Stacey as “[t]he ‘visual pleasure’ offered by the glamour and sexual appeal of Hollywood stars” (159). Aspects such as the major contradiction between screen role and screen persona, or the lack of ideal(istic) images offered to the audience are theorised on the basis of Christine Gledhill’s and Richard Dyer’s models, Anne Morey’s term of “the elegiac female grotesque” and Ana Salzberg’s concept of narcissistic Hollywood female stardom and embodied experience (107). The coherence of unglamorous female stardom as a real-life discursive construct emerges in the article through the consideration of Romanian New Wave cinema–similarly to 1970s-1980s New Indian Cinema in which unglamorous female stars existed (Gandhy-Thomas)–as a peripheral cinematic formation defined by a specific relation to glamour and consumption (Dyer, Gundle). Furthermore, the article suggests that this coherence is dependent on considering the production context of the Romanian New Wave in the framework of small national European cinemas (Hjort and Petrie, Soila), while emphasising the lack of integrated studio background (Haskell) and the fact that its female stars have been conditioned by postcommunist possibilities to articulate female public identities (Pasca Harsanyi, Roman).
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Wankhede, Harish S. "Examining the Presence of Dalit identity in Hindi Cinema." Current Research Journal of Social Sciences and Humanities 5, no. 2 (January 10, 2023): 76–82. http://dx.doi.org/10.12944/crjssh.5.2.03.

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A century of Bombay’s popular cinema has overtly celebrated the upper caste hero on screen. Major genres of Hindi cinema are stuffed with the Hindu-Brahmanical cultural values, social themes and political interests. The caste and question of Untouchability not even figured as the peripheral aspects of the cinema. The narratives revolve around certain abstract upper caste Hindu identities, divorced from the idea that in the actual Hindu social order caste distinctions play a crucial role. Bombay’s popular Hindi cinema though showcased artistic and intellectual agency by representing the problems of urban poor during its ‘Golden Age’ period, however the caste question is visibly ignored. Importantly, the problems of the Untouchables were discussed in the national political spectrum and the new Constitution offered them a new identity and special provisions to facilitate their entry into mainstream civil life, the Hindi cinema of 1950s neglected their concerns and voices under the influence of nationalistsocialist rhetoric. It is only in the neo-liberal era that the cinema industry witnessed the arrival of nuanced Dalit representation on screen.
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Dissertations / Theses on the topic "Peripheral cinema"

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Carrillo-Vincent, Matthew. "The work of being a wallflower| The peripheral politics of male sentimentality." Thesis, University of Southern California, 2013. http://pqdtopen.proquest.com/#viewpdf?dispub=3598174.

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One need not strain to find examples of male sentimentality in contemporary US popular culture: From frequent news stories on "Weeper of the House" John Boehner, to the success of Judd Apatow's poignant "bromance" movies, to last year's film adaptation of Stephen Chbosky's celebrated adolescent novel, The Perks of Being a Wallflower (1999), the man of feeling seems more present and popular than ever. With an unsettling display of excessive emotion emanating from the male body, each iteration provokes in viewers, listeners, and cultural critics any one of several disparate responses: Whether committed to the transgressive potential of a male who feels different because he offers vulnerability where others offer hardened restraint, or whether insistent in the claim that these texts simply add to what Gail Bederman would call the "remaking" of a continually complex normative subject, we find in the man of feeling an ambivalent subject for the public sphere. The initial question for readers, listeners, or viewers is often a simple one: is male sentimentality transformative and progressive, or is it pathetic and self-serving? But the presumption that we must answer one way or another belies the historical and cultural complexity of the man of feeling, and merely reinforces a kind of political approach to reading that simply replicates our own attitudes and relation to normativity and its privileges. This dissertation—under the impulse of recent work in queer theory and affect to reach closer to, rather than further from, normativity—takes up the counterintuitive position that we might draw this unlikely subject of the wallflower out from the sidelines and use him to interrogate normativity not from outside, but rather beside, its unsteady borders. It asks a central question—What does it mean for a critique of normativity to come from the normative subject?—and argues that the "peripheral" reading of normativity he helps enable might serve to render the logics of normativity in different ways than we can with more traditionally oppositional forms of critique.

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GRØN, Nis. "World cinema beyond the periphery : developing film cultures in Bhutan, Mongolia, and Myanmar." Digital Commons @ Lingnan University, 2016. https://commons.ln.edu.hk/vs_etd/8.

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According to UNESCO’s Universal Declaration on Cultural Diversity there exists a need in light of the “imbalances in flows and exchanges of cultural goods and services at the global level” to enable “all countries, especially developing countries and countries in transition, to establish cultural industries that are viable and competitive at a national and international level” (2001). The dissertation explores ways in which viable cultural industries can be established in developing countries. More specifically, the focus is on the development of film industries in countries in transition. Three national film industries, examined in light of their historical development and contemporary situation, provide the empirical basis for the dissertation’s claims and arguments. The three developing countries under investigation are Bhutan, Mongolia, and Myanmar, and in each case the study traces the historical trajectory of the relevant film industries leading to the mapping of the recent trends and tendencies. The examination of the individual cases foregrounds industrial and commercial challenges and solutions rather than the aesthetic or stylistic properties of specific films. That is, the study seeks to explore how educational practices, production modes, approaches to distribution and exhibition, and cultural policy measures have facilitated or thwarted the emergence of film industries in three developing countries in the Asian region. The approach taken builds on the call for a more inclusive approach to the study of world cinema (Nagib 2006). Equally important is an analytical approach derived from the field of small national cinema studies, one that underscores the need to explore solutions to problems facing filmmakers in countries sharing similar developmental challenges (Hjort & Petrie 2007). Following this conceptual perspective the study aims firstly, through its historical examination, to contribute to expanding the historiography of world cinema, where little to no attention is given to these largely unexplored national cinema cultures. Secondly, following the mapping of the contemporary situation of the institutional and organizational make-up of the film industries in question, the aim is to identify the systematic challenges and opportunities that are embedded in specific film sectors. The approach is applied with the intention of facilitating a constructive discussion that explores and compares proactive strategies. The point ultimately is to identify models that might be more generally relevant and thus transferable across national boundaries.
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Santos, Yasmin Bidim Pereira dos. "Filmes periféricos e as margens do cinema brasileiro : um estudo de caso a partir do longa-metragem Cartão Postal." Universidade Federal de São Carlos, 2015. https://repositorio.ufscar.br/handle/ufscar/8281.

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This work focuses on Brazilian independent cinema and the new paths cinematographers, specially the young ones, are following to make movies. The idea is to observe the new contemporary Brazilian cinema scene and some of its own characteristics, highlighting non traditional subsidezed funds, exhibition and distribution options on alternative channels, such as the internet, film clubs and festivals, as well as aesthetic aspects of its production. Their movies can be understood as peripheric as they may be found outside the scope that includes instutionalized cinema. So 'Cartão Postal' (Josinaldo Medeiros and Wagner Novais, 2011) will be our study case, since it is a movie that can be called peripheric and it is also fit in a specific genre of movie that has been produced on favelas, called cinema de periferia. This movie will be studied on its formal aesthetic dimension as well as on its production strategies, observing how it can fit into some of the main characteristics of this new Brazilian scene.
Este trabalho tem como foco o cenário contemporâneo do cinema independente brasileiro e as novas formas que os cineastas, sobretudo os jovens, vêm utilizando para realizar filmes. A proposta é observar essa nova cena do cinema brasileiro contemporânea e algumas características que a envolvem, destacando-se aqui as alternativas de financiamento frente aos modelos de leis de incentivo e editais, as opções de exibição e distribuição de seus filmes em canais alternativos, como a internet, os cineclubes e os festivais, e também aspectos estéticos dessa produção. São filmes que podem ser entendidos como periféricos na medida em que encontram-se fora do escopo que compreende o cinema institucionalizado. Será utilizado como estudo de caso o longa-metragem Cartão Postal (Josinaldo Medeiros e Wagner Novais, 2011), filme que enquadra-se nesse escopo dos filmes periféricos e também é representante de um nicho de produções que vêm sendo realizadas nas favelas brasileiras, identificado como cinema de periferia. O filme será analisado tanto em suas dimensões estéticas e formais quanto em suas estratégias de realização, observando como que as características dessa nova cena e do cinema periférico manifestam-se nesses aspectos.
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Iacob, Raluca. "Projecting peripheries : allegories of marginality in post-communist Romanian cinema." Thesis, University of St Andrews, 2015. http://hdl.handle.net/10023/6951.

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This thesis addresses aspects of Romanian society and cinema, by analyzing post-communist films through the perspective of marginality. The central hypothesis of this study refers to the ways in which films illustrate conditions of post-communist Romanian society, as they consider representations of the periphery through the angle of allegories of marginality. Following a long tradition, especially in literary studies, where it refers to the overt insertion of symbolic meanings, allegory refers in this study to a less noticeable delivery, by using a postmodern interpretation of the concept. This translates to detecting a latent meaning in films, by interpreting them in a broader context pertaining both to the film's circumstances (production, distribution and reception), and to the broader framework of the film's content. What connects post-communist Romanian films is a concern for matters of marginality, as they focus on dissensions in society, intergenerational conflicts, youth and limited opportunities of social movement, and the use of satire as a way of handling the bleak conditions of life. Aiming to provide a realistic representation of post-communist life, new wave Romanian films focus on the mundane reality of everyday life. The films discussed in this thesis expand beyond the scope of the new wave, and present a diversity of aesthetic approaches and relating perspectives on allegory—from distinct to obscure—defined by the contextual conditions of post-communism.
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Ben, Ayed Maya. "Le cinéma d'animation en Tunisie : genèse et évolution (1965-1995)." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0047.

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Ce travail cherche à comprendre comment le cinéma d’animation en Tunisie, une pratique artistique « en marge », à la fois dans son monde de l’Art et dans la société dans laquelle elle est produite, puisse s’ériger en tant que vecteur de contestation dans un contexte autoritaire. Il s’agit de tracer l’histoire méconnue de cet art depuis sa genèse et sur toute la période étudiée (1965-1995). Une histoire qui se confond avec celle des changements sociopolitiques du pays sous les deux régimes autoritaires postindépendance. Nous entendons dégager la ou les forme(s) de contestation en interrogeant, d’une part le matériau filmique etd’autre part les sources orales, mémoires vivantes de cet art. Nous confrontons deux discours celui du régime (du centre) et celui de l’art (la périphérie) afin de révéler le mécanisme de formulation du propos contestataire dans le cinéma d’animation tunisien
This work seeks to understand how animation in Tunisia – an artistic activity on the fringes, both in the art world and in the society in which it is produced - became a vehicle for political protest within an authoritarian context. It recounts the hitherto untold history of this art form together with the socio-political changes under the two post-independence authoritarian regimes. We intend to reveal the form(s) of protest by examining, on the one hand, the cinematic material and, on the other, live testimonials, first-hand memories of the art form. We confront two different types of rhetoric, that of the regime (core values) and the art of animation(marginal culture) to reveal the mechanisms used to formulate the protest statements in Tunisian animation
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Van, Loon Joel. "Looking outside: representations of the periphery in contemporary Japanese cinema." Thesis, 2011. http://hdl.handle.net/1828/3243.

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This thesis examines a body of contemporary Japanese films in order to unpack the various portrayals of some of Japan’s socially marginalized groups including women, alienated and rebellious youth, mentally unstable and socially withdrawn individuals, immigrants, and others who don’t adhere to the rigorous standards of social hierarchies and cultural traditions. Postmodernism provides the theoretical framework for the analysis of these films. I argue that Japanese postmodern films and their celebrations of the periphery are essential to contemporary Japan for three related reasons: These postmodern films represent sites of renewal - a positive view of the periphery; a neutral definition of the periphery as part of everyday life; and lastly, as a negative critique of an illusory meta-Japan. The intended outcome of this paper will be to find contrasting/contradictory representations of the periphery - as portrayed by Japanese filmmakers. Japan’s filmic representations of the complex social difficulties faced by the peripheral groups that exist within contemporary Japanese society can provide valuable social awareness and commentaries that are not readily found in other facets of Japanese society.
Graduate
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Sucharovová, Lucia. "Život římské periferie v Pasoliniho filmové a narativní tvorbě." Master's thesis, 2014. http://www.nusl.cz/ntk/nusl-338215.

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In this thesis I chose the topic of the history of modern Italian literature, namely the period of neorealism. Literary production exceeds its framework and passes into another kind of art, into filmmaking. So thesis gains interdisciplinary character. Furthermore, for me, this period significant for its ethical and aesthetic values of the human society. The first part summarizes important books about the life of Pier Paolo Pasolini. In the central part is based on mutual comparison works, novels and films, the opinions of experts works drawn from secondary literature. It is currently the focus of work: analysis of novels and film sequences through which it speaks to us. In the last part of the thesis contents Pasolini's book dedicated to collection of essays bearing his poetic intention to intervene in language, literature and film layers of Italian culture.
 Pasolini's scope goes beyond individual disciplines, interconnects arts and beyond "mere" national scope. It opens up new issues in the community in which he later become fateful. The thesis is dedicated to the first half of Pasolini's life that affected him during processing works analyzed below: Ragazzi di vita and Una vita violenta, Accattone and Mamma Roma. The rest of his life is not addressed, it does not impinge subject of interest and...
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LEPADAT, CARMEN. "Not just postposed topics. An integrated pragmatic account of the sentence-final slot in Mandarin Chinese." Doctoral thesis, 2021. http://hdl.handle.net/11573/1568122.

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Topics occurring in sentence-final position have fascinated linguists over the past few decades, and many proposals have been put forth to account for their frequent occurrence in spoken language. Nevertheless, still in 2012, Luke argued that “no consensus has been reached as to how their true essence should be captured, making it one of the most intriguing and least well understood phenomena in Chinese grammar” (Luke 2012: 338). To complicate things further, more recent studies in the area of conversation analysis and grammaticalization have pointed out a substantial overlap between the functions of right dislocations and those performed by more or less conventionalized markers of (inter)subjectivity occurring at the utterance right periphery such as pragmatic markers and sentence-final particles. However, despite the considerable amount of work in both fields of study, no unified account of the different types of linguistic elements characterizing Mandarin right periphery has been proposed, nor has the interaction between these elements been duly explored. The present dissertation has a three-fold objective: i) provide a corpus-driven outline of the expressions naturally occurring at the right periphery; ii) identify and describe their pragmatic functions in terms of information structure, discourse organization and interpersonal relationship management; iii) explore their intersection and interaction with other overtly marked dimensions of (inter)subjectivity. The novelty of this thesis consists in i) the holistic approach to the Mandarin utterance right periphery; iii) the adoption of both theoretical-based and corpus-driven categories to explore the relationship between right-peripheral elements and context-dependent features; ii) the employment of exploratory data analysis and data-manipulation methods recently adopted in cognitive and usage-based linguistics studies (e.g. Tantucci & Wang, 2018) such as conditional inference trees (Tagliamonte & Baayen, 2012). Some of the results reached by this study such as the gender-based usage of (subjective) right-peripheral expressions are previously unaccounted for in the literature; others, including the strong bias of the right periphery towards the expression of interpersonal meanings, not necessarily in terms of the inherent semantics of the sentence-final expressions but rather in terms of the functions performed, as well as the illocutional complexity revolving around evaluation, confirm hypotheses from previous literature; still other findings partially corroborate theoretical claims on the information structural functions of right-peripheral topics by mapping the emphatic, referential integration and discourse-contingent functions of topical expressions with distinct coreferential, activation status and tentative prosodic profiles.
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Books on the topic "Peripheral cinema"

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Iordanova, Dina. Cinema at the periphery. Detroit: Wayne State University Press, 2010.

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Iordanova, Dina. Cinema at the periphery. Detroit: Wayne State University Press, 2010.

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Iordanova, Dina. Cinema at the periphery. Detroit: Wayne State University Press, 2010.

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Dina, Iordanova, Martin-Jones David, and Vidal Belén 1974-, eds. Cinema at the periphery. Detroit: Wayne State University Press, 2010.

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Holohan, Conn. Cinema on the periphery: Contemporary Irish and Spanish film. Dublin: Irish Academic Press, 2010.

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Colmeiro, José. Peripheral Visions / Global Sounds. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940308.001.0001.

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Galician audio/visual culture has experienced an unprecedented period of growth following the process of political and cultural devolution in post-Franco Spain. This creative explosion has occurred in a productive dialogue with global currents and with considerable projection beyond the geopolitical boundaries of the nation and the state, but these seismic changes are only beginning to be the subject of attention of cultural and media studies. This book examines contemporary audio/visual production in Galicia as privileged channels through which modern Galician cultural identities have been imagined, constructed and consumed, both at home and abroad. The cultural redefinition of Galicia in the global age is explored through different media texts (popular music, cinema, video) which cross established boundaries and deterritorialise new border zones where tradition and modernity dissolve, generating creative tensions between the urban and the rural, the local and the global, the real and the imagined. The book aims for the deperipheralization and deterritorialization of the Galician cultural map by overcoming long-established hegemonic exclusions, whether based on language, discipline, genre, gender, origins, or territorial demarcation, while aiming to disjoint the center/periphery dichotomy that has relegated Galician culture to the margins. In essence, it is an attempt to resituate Galicia and Galician studies out of the periphery and open them to the world.
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Calhoon, Kenneth Scott. Peripheral Visions: The Hidden Stages of Weimar Cinema (Kritik: German Literary Theory and Cultural Studies). Wayne State University Press, 2001.

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Peripheral Visions: The Hidden Stages of Weimar Cinema (Kritik: German Literary Theory and Cultural Studies). Wayne State University Press, 2001.

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Cinema at the periphery. Detroit: Wayne State University Press, 2010.

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Owen, Jonathan. Eraser Drawings. University of Edinburgh, 2024. http://dx.doi.org/10.2218/ed.9781836450313.

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The output consists of a group of fifteen drawings. To make the works, Owen developed and applied a distinctive process involving the careful erasure of ink from found photographic images. Drawing usually involves making marks by adding and accumulating material (graphite, ink, etc.) on a surface. In contrast, Owen's drawings are made purely by erasure; a gradual, irreversible process of removing the ink of the printed image by hand. This series was made using illustrated pages from books on cinema, usually large, ‘coffee table’ publications focusing on a particular genre, director or actor. The books were found and bought online, in bookshops and secondhand shops. In each drawing the central figure, usually an actor or director, is erased. This disables the Focal point of the photograph, bringing a new importance and directing attention to the peripheral details of the image. Drawings from this series have been exhibited in solo exhibitions at:
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Book chapters on the topic "Peripheral cinema"

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Sticchi, Francesco. "Italian Peripheral Cinema: Boys Cry and Don’t Be Bad." In Mapping Precarity in Contemporary Cinema and Television, 121–34. Cham: Springer International Publishing, 2021. http://dx.doi.org/10.1007/978-3-030-63261-8_8.

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Sanyal, Devapriya. "Women on the periphery." In Gendered Modernity and Indian Cinema, 98–110. London: Routledge, 2021. http://dx.doi.org/10.4324/9781003196389-7.

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Lovejoy, Alice. "Center and Periphery." In A Companion to Eastern European Cinemas, 169–82. Chichester, UK: John Wiley & Sons, Ltd, 2012. http://dx.doi.org/10.1002/9781118294376.ch9.

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Stam, Robert. "The Cosmopolitanism of the Periphery." In World Literature, Transnational Cinema, and Global Media, 35–39. London ; New York : Routledge, 2019.: Routledge, 2019. http://dx.doi.org/10.4324/9780429428579-5.

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Bentes, Ivana. "Global Periphery: Aesthetic and Cultural Margins in Brazilian Audiovisual Forms." In New Argentine and Brazilian Cinema, 103–17. New York: Palgrave Macmillan US, 2013. http://dx.doi.org/10.1057/9781137304834_8.

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Ellison, Elizabeth. "The Gritty Urban: The Australian Beach as City Periphery in Cinema." In Filmurbia, 79–94. London: Palgrave Macmillan UK, 2017. http://dx.doi.org/10.1057/978-1-137-53175-9_6.

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Kolokytha, Olga. "Technology, Decentralisation and the Periphery of European Filmmaking: Greece and Scandinavia in Focus." In European Cinema in the Twenty-First Century, 207–25. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-33436-9_12.

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Meers, Philippe, and Daniël Biltereyst. "Belgian Film Culture Beyond the Big City: Cinema-Going in the Provincial and Rural Periphery of Antwerp." In Rural Cinema Exhibition and Audiences in a Global Context, 135–54. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-66344-9_8.

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Colmeiro, José. "Reimagining Galician Cinema: Utopian Visions?" In Peripheral Visions / Global Sounds. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940308.003.0006.

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This chapter addresses the problematic situation of Galician film production, in the larger contexts of the Galician audiovisual sector, the Spanish cinema industry and the transnational currents of economic and cultural globalization affecting national and subnational cinemas. It examines the lights and shadows of Galician cinema production in the representation of Galician cultural themes, the use of different genres, and the exploration of issues of identity, gender, nation and language.
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Colmeiro, José. "Made in Galicia: Making the Invisible Visible." In Peripheral Visions / Global Sounds. Liverpool University Press, 2018. http://dx.doi.org/10.5949/liverpool/9781786940308.003.0005.

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Chapter 4 focuses on new conceptual approaches to the study of peripheral cinemas, and Galician cinema in particular. It examines the conditions that have shaped the development of Galician cinema historically and it explores different cinematic modes, from the cinema of migration or the folkloric “gallegada”, to the post-Franco boom in Galician cinema with the emergence of a viable commercial cinema, the establishment of an auteur tradition, and the appearance of new non-conventional experimental cinema trends.
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Conference papers on the topic "Peripheral cinema"

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Colella, Viviana. "Transformaciones, persistencias y resistencias del territorio: la ribera del Municipio de Vicente López." In Seminario Internacional de Investigación en Urbanismo. Barcelona: Instituto de Arte Americano. Universidad de Buenos Aires, 2013. http://dx.doi.org/10.5821/siiu.5851.

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Los estudios sobre transformaciones metropolitanas recientes focalizan en las intervenciones en centros metropolitanos, periurbano y los ejes que los articulan. Las áreas centrales fueron escenario de operaciones públicas y desarrollos inmobiliarios en sus zonas históricas, portuarias y costeras. En el periurbano se localizaron enclaves cerrados destinados a sectores de alto poder adquisitivo. Estas áreas centrales y periféricas se articulan por redes de autopistas concesionadas y por corredores consolidados tradicionalmente, que cobran gran dinamismo con la localización de hipermercados, shoppings centers, complejos de cine, y edificios de oficinas. Sin embargo, estos estudios soslayan las amplias zonas intermedias, entre el centro y el periurbano, que cobran particular interés, tanto para la inversión pública como privada, a partir de la última década. En este trabajo se considera que los proyectos y las transformaciones de estas áreas, así como los conflictos que se dirimen en torno a ellos, pueden presentarse como un laboratorio para pensar las transformaciones recientes, y sus posibles lógicas de intervención. The studies about the recent metropolitan transformations focus on interventions in metropolitan centers, suburban and the axles that articulate them. The central areas were the scene of public operations and real estate development in historic areas, ports and coastal. In the periphery were settled gated communities for affluent sectors. These central and peripheral areas are linked by networks of private highway and traditional corridors, who gained dynamism with the location of supermarkets, shopping malls, cinema complexes, and office buildings. This paper focus on the large are as between downtown and suburbs, which are of particular interest to both public and private investment, from the last decade. It considers the projects and transformations of these areas, and the conflicts that are settled around them, may be presented as a laboratory for thinking about the recent changes, and possible intervention logic.
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Journal articles
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