{"product_id":"9781350429772","title":"'Floating Heritage' Films A Cinematic Imaginary of 21st Century Border Crossing","description":"\u003ch3\u003eWorld Cinema\u003c\/h3\u003e\u003ch1\u003e'Floating Heritage' Films\u003c\/h1\u003e\u003ch2\u003eA Cinematic Imaginary of 21st Century Border Crossing\u003c\/h2\u003e\u003ch3\u003eDavid Martin-Jones | Lúcia Nagib | Julian Ross\u003c\/h3\u003e\u003cdiv\u003e\u003cb\u003ePerforming Arts \/ Film \/ General\u003c\/b\u003e\u003c\/div\u003e\u003cbr\u003e\u003cdiv\u003e\u003cp\u003eHow does cinema construct cultural heritage? And to what extent is this heritage newly 'inherited' at the intersection of the national and the transnational?\u003cbr\u003e\u003cbr\u003e\u003ci\u003eFloating Heritage Films \u003c\/i\u003eexplores how a world of cinemas imagines the varied transcultural interactions of our globalized world. The term 'floating' indicates a range of border-crossing experiences, from the tourist's joyful voyages, to the struggles of migrant workers, to the anxiety faced by immigrants and refugees, and finally, the cross-border vectors of disease transmission.\u003cbr\u003e\u003cbr\u003eDrawing upon Latin American thinkers like Fernando Ortiz, Gloria Anzaldúa, and Walter D. Mignolo, David Martin Jones analyses a diverse range of films including\u003ci\u003e Zindagi Na Milegi Dobara \u003c\/i\u003e(You Won't Get Life Back Again) (India, 2011), \u003ci\u003eEl olivio\u003c\/i\u003e (The Olive Tree) (Spain, 2016), \u003ci\u003eAtlantique \u003c\/i\u003e(Atlantics) (Senegal, 2019), \u003ci\u003eUn cuento chino \u003c\/i\u003e(Chinese Take-Away) (Argentina, 2011) and \u003ci\u003eGamgi \u003c\/i\u003e(Flu) (South Korea, 2013). In doing so he maps the spectrum of world cinema's various global cinematic transcultural imaginings\u003ci\u003e, \u003c\/i\u003ewhich offers a distinct alternative from the neoliberal global imaginary so often identified in the post-Cold War world.\u003c\/p\u003e\u003c\/div\u003e\u003cdiv\u003e\n\u003cb\u003eDavid Martin-Jones\u003c\/b\u003e is Professor in Film and Television Studies at the University of Glasgow, UK. He is the author of Columbo: Paying Attention 24\/7 (2021),  \u003ci\u003eCinema Against Doublethink: Ethical Encounters with the Lost Pasts of World History\u003c\/i\u003e (2018), \u003ci\u003eDeleuze and World Cinemas\u003c\/i\u003e (Continuum, 2011) \u003ci\u003eDeleuze, Cinema and National Identity\u003c\/i\u003e (2006), \u003ci\u003eDeleuze Reframed \u003c\/i\u003e(I.B. Tauris, 2008) and \u003ci\u003eScotland: Global Cinema\u003c\/i\u003e (2009). He is co-editor of \u003ci\u003eCinema at the Periphery\u003c\/i\u003e (2010) and \u003ci\u003eDeleuze and Film\u003c\/i\u003e (2012). He is on the editorial boards of \u003ci\u003eFilm-Philosophy\u003c\/i\u003e and \u003ci\u003eA\/V: The Journal of Deleuzian Studies\u003c\/i\u003e.\u003c\/div\u003e\u003cbr\u003e\u003ctable\u003e\n\u003ctr\u003e\n\u003ctd\u003ePublication Date: \u003c\/td\u003e\n\u003ctd\u003e08 July 2027\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePublisher: \u003c\/td\u003e\n\u003ctd\u003eBloomsbury Academic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eImprint: \u003c\/td\u003e\n\u003ctd\u003eBloomsbury Academic\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eISBN-13: \u003c\/td\u003e\n\u003ctd\u003e9781350429772\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eFormat: \u003c\/td\u003e\n\u003ctd\u003eHardback\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003ePage Count: \u003c\/td\u003e\n\u003ctd\u003e288\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003ctr\u003e\n\u003ctd\u003eWeight (oz): \u003c\/td\u003e\n\u003ctd\u003e16.0\u003c\/td\u003e\n\u003c\/tr\u003e\n\u003c\/table\u003e","brand":"Bloomsbury Academic","offers":[{"title":"Default Title","offer_id":55552980942988,"sku":"9781350429772","price":103.5,"currency_code":"USD","in_stock":true}],"url":"https:\/\/lateknightbooks.com\/products\/9781350429772","provider":"Late Knight Books and Services, LLC","version":"1.0","type":"link"}