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The World Screen: Japan’s Cinematic Reinvention and International Film Festivals

The World Screen: Japan’s Cinematic Reinvention and International Film Festivals The World Screen: Japan’s Cinematic Reinvention and International Film Festivals lance lomax a s schol ar felicia chan suggests, the sites of exchange, international film festivals “international film festival often appears to operate as “spaces that regulate—in accor- function as a cosmopolitan space in which dance with various social, economic, political, spectators are encouraged to participate in a and cultural forces—what is allowed to flow kind of concentrated cultural tour of the world” through it” (253). Additionally, these regulatory (253). When considering the complexities of spaces became increasingly influential after cosmopolitanism in relation to international World War II; as film scholar Michael Baskett film festivals, we may problematize the sup - posits, the “number of international film festi - posed equality fostered through international vals dramatically proliferated throughout the film festivals in the mid- to late twentieth cen - 1950s,” and these festivals “replaced interna- tury; such sites have proved to be more com- tional fairs as showcases in which nations and plicated than simply venues of cultural tourism regions competitively displayed their artistic via filmic texts. The cosmopolitan space is one and technological standards” (6). If we con- of hierarchies, values, and judgments regard- sider the dual nature http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Journal of Film and Video University of Illinois Press

The World Screen: Japan’s Cinematic Reinvention and International Film Festivals

Journal of Film and Video , Volume 72 (1) – Apr 29, 2020

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Publisher
University of Illinois Press
Copyright
Copyright © The Board of Trustees of the University of Illinois.
ISSN
1934-6018

Abstract

The World Screen: Japan’s Cinematic Reinvention and International Film Festivals lance lomax a s schol ar felicia chan suggests, the sites of exchange, international film festivals “international film festival often appears to operate as “spaces that regulate—in accor- function as a cosmopolitan space in which dance with various social, economic, political, spectators are encouraged to participate in a and cultural forces—what is allowed to flow kind of concentrated cultural tour of the world” through it” (253). Additionally, these regulatory (253). When considering the complexities of spaces became increasingly influential after cosmopolitanism in relation to international World War II; as film scholar Michael Baskett film festivals, we may problematize the sup - posits, the “number of international film festi - posed equality fostered through international vals dramatically proliferated throughout the film festivals in the mid- to late twentieth cen - 1950s,” and these festivals “replaced interna- tury; such sites have proved to be more com- tional fairs as showcases in which nations and plicated than simply venues of cultural tourism regions competitively displayed their artistic via filmic texts. The cosmopolitan space is one and technological standards” (6). If we con- of hierarchies, values, and judgments regard- sider the dual nature

Journal

Journal of Film and VideoUniversity of Illinois Press

Published: Apr 29, 2020

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