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Crossover Cinema Anthology

Publisher: In preparation for Palgrave (‘Global Cinema’ series)

Provisional Title: ‘Crossover Cinema: Resetting the Film Frame/work’

Editor: Sukhmani Khorana (PhD Adelaide)

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This volume of related essays is based on the notion that cinematic products (especially in the twenty-first century) emerge from, engage with, and are consumed in cross-cultural settings. These films exhibit genre hybridity, and also problematise the ideological tendencies of national(ist) cinemas. They are often conceived and produced by creative individuals/groups on the margins of society, such as diasporic citizens. Their multiple influences are manifested in the content and form of the films themselves. In terms of distribution channels and marketing discourses, these in turn cross (and work across) varying platforms and commercial/arthouse distinctions. The crossover is eventually epitomised in the watching of these films by a wide range of audience groups, thereby disturbing ethno-cultural and generic marketing categories.

Proposals (200 to 300 words) are sought for full papers (5,000 to 8,000 words) that could take the form of a) textual analysis of relevant films; b) interviews with crossover filmmakers; c) reflective essays by film scholars/practitioners; d) analysis of publicity material such as film posters; d) audience demographic studies; or e) contextualised film reviews. These could fit one of the following themes/questions, but are not limited to:

1. The re-conceptualisation of nation-based cinema (as an industry) in the wake of both unprecedented global migration, and the growing economic and cultural capital accrued to the non-west.
2. The impact of cross-cultural productions (involving collaboration of finances and/or talent) on the content of the films being produced. What does this mean for the discipline of film studies and for text-based film scholarship?
3. Crossover films often have successful runs in arthouse cinemas and on film festival circuits, but this rarely translates to box office numbers or wider audience appeal. What is the role of film marketing and publicity where successful audience crossovers have occurred?
4. Not only are digital technologies being used for producing and marketing cutting-edge crossover films in all genres, but the online world is also a haven for film reviews. Can this enable a transcultural approach to film reviewing?

Please email proposals and a short bio (in a single word document).

Contact: sukhmani.khorana@adelaide.edu.au

Deadline: 14th March 2011