Routledge Companion to Cinema and Politics

Yannis Tzioumakis is Senior Lecturer in Communication and Media Studies at the University of Liverpool. He is the author and editor of six books, most recently of Hollywood’s Indies: Classics Divisions, Specialty Labels and the American Film Market (2012). He is also co-editor of the ‘Hollywood Centenary’ and the ‘Cinema and Youth Cultures’ book series (both for Routledge). Claire Molloy is Professor of Film, Television and Digital Media, and Director of the Centre for Human Animal Studies at Edge Hill University. Her recent publications include the books Memento (2010), Popular Media and Animals (2011), Beyond Human: From Animality to Transhumanism (2012) and American Independent Cinema: indie, indiewood and beyond (2013).

• IntroductionClaire Molloy and Yannis TzioumakisPart 1Approaches to Film and PoliticsIntroductionPhilip DrakeChapter 1The Dialectics of Third CinemaMike WayneChapter 2Geopolitics and CinemaToby MillerChapter 3Ecopolitics and CinemaSean CubittChapter 4The Politics of Form: A Conceptual Introduction to ‘Screen Theory’Warren BucklandChapter 5Revisiting the Political Economy of FilmJanet WaskoPart 2Film, Activism and OppositionIntroduction Anthony KillickChapter 6"New" New Latin American Cinema ManifestoesScott L. BaughChapter 7Animal Rights Films, Organized Violence, and the Politics of SightAnat PickChapter 8Reel News in the Digital Age: Framing Britain’s Radical Video-activists Steve PresenceChapter 9Film and the Politics of Working Class Representation: The Inside Film ProjectDeirdre O’NeillChapter 10Kony 2012: Anatomy of A Campaign Video and A Video CampaignLeshu TorchinPart 3Film, Propaganda, Ideology and the StateIntroductionClaire MolloyChapter 11Propaganda, Activism and Environmental NostalgiaClaire MolloyChapter 12Between "Information" and "Inspiration": The Office of War Information, Frank Capra’s Why We Fight series and US World War II PropagandaGregory FrameChapter 13Striving for the Maximum Appeal: Ideology and Propaganda in the Soviet Cinema of the 1920s and 1930sPanayiota MiniChapter 14‘Victory doesn’t always Look the Way other People Imagine It.’ Post-conflict Cinema in Northern IrelandStephen BakerChapter 15Film Policy and England: The Politics of CreativityPaul DavePart 4The Politics of MobilityIntroductionStephanie Hemelryk DonaldChapter 16Cosmopolitanism, Empathy and the Close-upDimitris EleftheriotisChapter 17Regurgitated Bodies: Presenting and Representing Trauma in The Act of KillingLúcia NagibChapter 18After Dispossession: Blackfella Films and the Politics of Radical HopeFelicity CollinsChapter 19The Holocaust Documentary: Sense, Meaning and Redemptive PoliticsBrad PragerChapter 20A Bridge over Troubled Water? Loving Jews and Muslims in Two Recent Mediterranean FilmsYosefa LoshitskyPart 5Political HollywoodIntroduction Brian NeveChapter 21Social Apocalypse in Contemporary Hollywood FilmDouglas KellnerChapter 22Reassertions of Hollywood Heroic Agency in the Iraq War FilmGeoff KingChapter 23Spectacle vs. Narrative: Action Political Movies in the New MillenniumIan ScottChapter 24Representing 9/11 in Hollywood cinemaEleftheria ThanouliChapter 25Reaganite Cinema: What a Feeling!Gary NeedhamPart 6Alternative and Independent Film and PoliticsIntroductionYannis TzioumakisChapter 26 Film Festivals: Mediating the Mainstream and Marginal VoicesMarijke de ValckChapter 27Politics, ‘Indie-Style’: Political Filmmaking and Contemporary US Independent CinemaYannis TzioumakisChapter 28Dismantling the System from Within: The Early Films of Robert Altman and the Politics of Anti-EstablishmentJacqui MillerChapter 29Ethical Time, Ethical History: Recent Israeli FilmNurith GertzChapter 30The Way of SeemingRob NilssonPart 7The Politics of Cine-geographiesIntroductionEwa MazierskaChapter 31African Cinema in an Age of Postcolonialism and Globalization Kenneth HarrowChapter 32Nationalist Geopolitics and Film Tourism in India's Hindi CinemaPeter C. PugsleyChapter 33Political Cinema in Latin America: From Nation-building to Cultural Translation Armida de la GarzaChapter 34European Cinema: Spectator- or Spect-actor-driven PoliciesPetar Mitric and Katharine SarikakisChapter 35Minor Cinema – The Case of WalesRuth McElroyPart 8The Politics of DocumentaryIntroductionJohn CornerChapter 3621st Century Political Documentary in the United StatesBetsy A. McLaneChapter 37Documenting Dissent: Political Documentary in the People’s Republic of ChinaLuke RobinsonChapter 38Politics and Independence: Documentary in Greece during the CrisisLydia PapadimitriouChapter 39Secret City (2012) A Reception DiaryMichael Chanan and Lee SalterChapter 40Interactive Documentary: Film and Politics in the Digital EraJames Lyons

‘With its epic scope, this daring book expands the equation of cinema and politics into a more dynamic, complex, multi-layered international terrain through the lenses of theories, activism, propaganda, ideology, the state, mobility, Hollywood, alternative film, documentaries, cine-geographies, digitalities, and practices. A staggering, field-defining achievement, The Routledge Companion to Cinema and Politics blasts open any reductionist correlation between the two terms with a necessary, urgent, and compelling polyphonic approach entailing multiple methodologies and theoretical locations. This important volume recalibrates the terms "cinema" and "political" by ruthlessly and brilliantly multiplying theories and arguments.’Patricia R. Zimmermann, Professor of Screen Studies, Ithaca College, New York, USA‘Cinema could matter more for understanding politics than usually acknowledged, especially when one takes into account that it travels beyond national borders. After all, so many films are made out of political concerns. And so many political matters — migration, trafficking, trauma, genocide — are best tackled through the medium of cinema. This volume brings together essays by some of the finest writers who discuss film in a way that can be adopted across a range of disciplines, from political science and international relations through to sustainable development and tourism studies.’Dina Iordanova, Professor of Global Cinema and Creative Cultures and Director of the Institute for Global Cinema and Creative Cultures, University of St Andrews, UK