MARC Record from marc_columbia

LEADER: 02240pam a2200361 i 4500
001 10379649
005 20140718160313.0
008 130225s2013 nyua b 001 0 eng
010 $a 2012051235
020 $a9780415630924 (hardback)
020 $a0415630924 (hardback)
024 $a40022422236
035 $a(OCoLC)794041400
035 $a(OCoLC)ocn794041400
035 $a(NNC)10379649
040 $aDLC$beng$erda$cDLC$dBTCTA$dOCLCO$dOCLCQ$dYDXCP$dNhCcYBP
042 $apcc
050 00 $aPN1993.5.A1$bC795 2013
082 00 $a384/.83$223
084 $aSOC052000$aSOC008000$aSOC032000$2bisacsh
245 00 $aCrossover cinema :$bcross-cultural film from production to reception /$cedited by Sukhmani Khorana.
264 1 $aNew York :$bRoutledge,$c2013.
300 $ax, 172 pages :$billustrations ;$c24 cm.
336 $atext$btxt$2rdacontent
337 $aunmediated$bn$2rdamedia
338 $avolume$bnc$2rdacarrier
490 1 $aRoutledge advances in film studies ;$v25
520 $a"Cinematic products in the twenty-first century increasingly emerge from, engage with, and are consumed in cross-cultural settings. While there have been a number of terms used to describe cinematic forms that do not bear allegiance to a single nation in terms of conceptualization, content, finance and/or viewership, this volume contends that "crossover cinema" is the most apt contemporary description for those aspects of contemporary cinema on which it focuses. This contention is provoked by an appreciation of the cross-cultural reality of our post-globalization twenty-first century world. This volume both outlines the history of usage of the term and grounds it theoretically in ways that emphasize the personal/poetic in addition to the political. Each of the three sections of the volume then considers crossover film from one of three perspectives: production, the texts themselves, and distribution and consumption."--$cProvided by publisher.
504 $aIncludes bibliographical references and index.
650 0 $aMotion picture industry$xEconomic aspects$zForeign countries.
700 1 $aKhorana, Sukhmani,$d1984-,$eeditor.
830 0 $aRoutledge advances in film studies ;$v25.
852 00 $bglx$hPN1993.5.A1$iC795 2013