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Studies have shown that accented filmmaking features and strategies are indeed appearing in wide-ranging films of contemporary cinemas. The main focus of this paper is to analyze Viduthalai Moochu, an internal exilic Eelam-Tamil film from Sri Lanka, using a concept derived from Hamid Naficy's theorization of An Accented Cinema known as the "preoccupation with the place." The concept is cinematically expressed through the open, closed, and third spacetime cinematic formations. It needs to be noted here that Naficy's theory offers a range of accented cinematic features that express accent in the film. However, the paper will only focus on the film's spatial representations that are configured according to the space-time formations. Space-time formations are cinematic features that are employed to produce and reproduce the "accent" through cinematic representations of spaces and places rendered in the film. The configurations of the space-time formations will be used as the basis to examine Viduthalai Moochu, a film that does not seem to demonstrate the familiar conventions of filmmaking. The film mainly grapples with themes that enunciate the Eelam-Tamil displacement and deterritorialization in the internal exilic situation. The analysis shows how a particular version of alternative filmmaking strategy exclusively uses spatial representations to render themes of displacement and deterritorialization. The findings prove that the makers of Viduthalai Moochu have indeed employed the space-time formations to highlight the displacement and the deterritorialization of the Eelam-Tamil community through cinematic spatial representations. [ABSTRACT FROM AUTHOR]

The wuxia tradition in cinema constructs primordial 'Chineseness' and 'cultural China' as identities to be transmitted and deployed around the world. The article critiques frameworks that take cultural identities such as 'Chineseness' or 'Americanness' for granted. Such frameworks engender reductive views of culture as an essential substance, with the cinema of said culture expressing or conveying that cultural essence, or imitations thereof, around the world. Such arguments falsely assume that cinemas either 'authentically' represent the national or ethnic origin of their producers or signify the coming together of two vaguely defined cultures in hybrid form, typically east meeting west. This article demonstrates how cinema generates cultural identities, using Crouching Tiger, Hidden Dragon to illustrate how the wuxia tradition creates imagined worlds that connect disparate peoples, including populations traditionally regarded as diaspora. Wuxia uses imagined histories of mythical places to enable imagined community, while transmitting and concretizing that cultural identity through cinema. As the film's main plot device, the sword demonstrates how passing for traditional is a modern practice for local cinemas to gain access to global film markets. The article concludes by discussing Crouching Tiger, Hidden Dragon as a minoritarian artwork that engenders becoming sinophone by deterritorializing cultural Chineseness from the nation state, thereby highlighting the processes by which sinophone cinemas mediate cultural identity by engaging and modernizing established norms. [ABSTRACT FROM AUTHOR]

This article examines the way Hong Kong figures in the Hollywood imaginary by examining John Woo's films A Better Tomorrow and The Killer. For the purpose of my investigation, I show how the two films exemplify the twin concepts of deterritorialization and reterritorialization with regard to a variety of analytical categories including genre, gender, values, somatic pleasure, affect, melodrama, religion, nostalgia, morals, and the social and cultural context. My analysis demonstrates the hybrid nature of John Woo's films and provides evidence that cultural identities are flexible and change as they are faced with different contexts and challenges. [ABSTRACT FROM AUTHOR]

The T-Shirt stages a confrontation, through the encounter between Tomas and Mark, of two distinct worlds which share a number of essential commonplaces, but nevertheless structure them according to different centres of authority. The confrontation takes deep ontological dimensions challenging one of the protagonists' identity and world-view. [ABSTRACT FROM AUTHOR]

The main assumption of this paper is that the Romanian film industry and the film directors themselves are going through a process of aesthetic and narrative transformation, mostly due to the impact of post-national cinema-making practices. Some of the recent works in Romanian cinema are following the logic of another stylistic, that of a delocalized cinema, a cinema that is both deterritorialized and non-specific nationally. This is explicit in the way the directors are defining the national space, the territorial identity and, finally, the way in which they project social and collective representations. Using as a case study Bogdan Mirică's first feature film, Câini (Dogs, 2016), the author argues that his cinematic practices indicate a conscious abandoning of the national specificity. [ABSTRACT FROM AUTHOR]

A film criticism is provided for the 1970 motion picture "Le Boucher" directed by Claude Chabrol. Topics discussed include the film's portrayal of deterritorialization, the film's portrayal of gender, and the film's portrayal of decolonization. The emasculation of main character Popaul is also examined.