Transnationale Medienlandschaften: Populärer Film zwischen by Ivo Ritzer, Harald Steinwender

By Ivo Ritzer, Harald Steinwender

Der Band vereint Studien zu transnationalen Medienlandschaften, die das Erkenntnisinteresse auf kinematographische Vernetzungen jenseits fixer Zentren richten. Im Fokus steht eine examine populärer Traditionen aus postkolonialer Perspektive, die transnationalen movie in den Kontext einer globalen Medienkultur setzt, wobei europäischen Koproduktionen und reziproken Austauschbeziehungen mit lateinamerikanischen, asiatischen und afrikanischen Kinematographien besondere Aufmerksamkeit zukommt.

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H. Beck. Buck-Morss, Susan. 2011. Hegel und Haiti: Für eine neue Universalgeschichte. Berlin: Suhrkamp. Chakrabarty, Dipesh. 2010. Europa als Provinz: Perspektiven postkolonialer Geschichtsschreibung.  M. und New York: Campus. Comaroff, Jean, und John L. Comaroff. 2012. Der Süden als Vorreiter der Globalisierung: Neue postkoloniale Perspektiven.  M. und New York: Campus. Hall, Stuart. 1992. The West and the Rest: Discourse and Power. In Formations of Modernity, hrsg. Stuart Hall und Bram Gieben, 275-320.

1996. Transnational Connections: Culture, People, Places. London und New York: Routledge. Higbee, Will, und Song Hwee Lim. 2010. Concepts of transnational cinema: Towards a critical transnationalism in film studies. Transnational Cinemas 1 (1): 7-21. Higson, Andrew. 2000. The limiting imagination of national cinema. In Cinema and Nation, hrsg. Mette Hjort und Scott MacKenzie, 63-74. London: Routledge. Higson, Andrew. 2002. The Concept of National Cinema. In Film and Nationalism, hrsg. Andy Williams, 52-67.

Für Graf sind diese Filme, die er als Lados „Giallo-Trilogie“ umschreibt, Ausgangspunkt, aus persönlicher Perspektive über die Situation des europäischen Films in den 70er Jahren und heute zu reflektieren. Wo Anfang der 70er Jahre internationale Koproduktionen florierten und im Kino nahezu alles möglich schien, da regiere, so Graf, heute vor allem Mittelmaß im europäischen Kino. Die Filme Aldo Lados stehen mit ihren einfachen, aber wirkungsvollen Tricks, der höchst ambivalenten Figurenzeichnung und ihrem dezidiert anti-authentischen, vor allem der Wirkung verpflichteten Inszenierungsstil für einen ganz unmittelbaren Zugang zum Kino, der nicht zuletzt in der drastischen Gewaltdarstellung und den mitunter aberwitzigen dramaturgischen Konstruktionen unerwartete Risiken eingehe und somit paradigmatisch für einen Stil des europäischen Kinos sei, der in der aktuellen paneuropäischen Förder- und Koproduktionslandschaft völlig undenkbar geworden ist.

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