Alphaville: Journal of Film and Screen Media. Issue 01: European Cinema: Transnational, Transcultural, Transmedial

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https://hdl.handle.net/10468/642
The inaugural issue of Alphaville stems thematically from an international Film Studies conference on European Cinema (UCC, May 2010), which addressed the permeability of European spaces from a number of diverse perspectives, showcasing the geopolitical, sociocultural, aesthetic and productive "movement" that was historically and still is at the heart of European cinema. Edited by Laura Rascaroli, University College Cork.

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    The Corona Fastnet Short Film Festival, Schull, County Cork, 26-29 May 2011
    (Film and Screen Media, University College Cork, 2011) Monahan, Barry
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    Back to the future: the European film studies agenda today
    (Film and Screen Media, University College Cork, 2011) Rascaroli, Laura
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    Transnationality and transitionality: Sandra Kogut’s The Hungarian Passport (2001)
    (Film and Screen Media, University College Cork, 2011) Pinazza, Natália
    This article examines Sandra Kogut’s The Hungarian Passport (2001) in the light of recent theoretical debates on diasporic and postcolonial filmmaking. It focuses on how Kogut’s displacement—both as the granddaughter of Jewish refugees and a foreigner in France—permeates the structure of the documentary in terms of narrative, visual style, subject matter and theme. In the process, the article addresses questions of transnational cinema in a postcolonial and diasporic context by exploring how the film’s transnational representations interrogate the validity of both national cinema and cultural identity as fixed concepts in contemporary Europe.
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    The Society of Cinema and Media Studies Annual Conference 2011: Media Citizenship, New Orleans, USA, March 10-13
    (Film and Screen Media, University College Cork, 2011) Mellamphy, Deborah
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    The fictive archive: Kurdish filmmaking in Turkey
    (Film and Screen Media, University College Cork, 2011) Çiçek, Özgür
    In this paper, I consider the potentials and theoretical interpretations of Kurdish Cinema produced in Turkey. I evaluate the dynamics of the emergence of a state-less Kurdish cinema, which produces films in spite of the existence of Turkish National cinema and an oppressive Turkish national identity. Using Hayden White’s formulations on narrative and history and Gilles Deleuze’s theories on minority filmmaking and the time-image, I argue that the conception of time in Kurdish Cinema exceeds the time of the narrative and carries an archival potential for the unrepresented history of Kurdish life in Turkey.