A long time in the making, “Cinema at the Periphery is finally out, published by Wayne State University Press in Detroit as part of their series on Contemporary Approaches to Film and Television, under the general editorship of Barry Keith Grant.
Our idea for this project was to explore marginal cinemas from around the world by bringing them together in a comparative perspective. Because, as we see from Iceland to Iran and from Singapore to Scotland, a growing intellectual and cultural wave of production is taking cinema beyond the borders of its place of origin and ventures into exploring faraway places, interacting with barely known peoples, and making new localities imaginable. In an array of films that are made in the context of these traditions, previously entrenched spatial divisions no longer function as firmly fixed grid coordinates, the hierarchical position of place as “center” is subverted, and new forms of representation become possible. Thus, for the project Cinema at the Periphery (first a conference in 2006 and now finally a book), we assembled criticism that explored issues of the periphery, including questions of transnationality, place, space, passage, and migration. The brief to the contributors was to examine the periphery in terms of locations, practices, methods, and themes. The volume includes geographic case studies of small national cinemas located at the global margins, like New Zealand, Denmark or Scotland, but also of filmmaking that comes from peripheral cultures, like Palestinian “stateless” cinema, Celtic-language film, Australian Aboriginal films, and cinema from Quebec. Therefore, the volume is divided into two key areas: industries and markets on the one hand, and identities and histories on the other. Yet as a whole, the project is to illustrate that the concept of “periphery” is not fixed but is always changing according to patterns of industry, ideology, and taste. Most importantly, however, Cinema at the Periphery proposes a workable approach that allows us to link the inextricable interrelationship that exists between production modes and circulation channels and the emerging narratives of histories and identities they enable. It includes some really important writing by leading authors in the field of transnational film studies.
Let me take the opportunity and make an important link here. Back in June 2006, at the inaugural conference that marked the beginning of this project, we recorded the presentations of many of our guests and made them available on-line. Some of these, like Faye Ginsburg (NYU), Mette Hjort (Lingnan), Patricial Pisters (Amsterdam), Sheldon Lu (Santa Barbara), Laura Marks (Simon Fraser), Bill Marshall (Stirling), and Duncan Petrie’s (York) talks became the basis of chapters in the current book. Others, like Dudley Andrew (Yale), John Caughie (Glasgow), Pam Cook (Southampton), Hamid Naficy (Northwestern), Rod Stoneman (Huston Film School), Kristian Feigelson (Paris), published their work elsewhere. While still others, like Lucia Nagib (Leeds), opted to participate in the book but by presenting us with texts on topics that differed from those that they presented. We also commissioned several essays that were added to the two parts of the volume (Industry and Ideology). These included contributions by all three of us — myself and David Martin-Jones (both still at the University of St. Andrews) and Belén Vidal (who since moved to take up a job at King’s College in London) — who acted as editors of the collection. We also included a specially commissioned piece by Kay Dickinson (Goldsmiths) (on Palestinian cinema in an international context). Back then, a number of reviews of the event appeared in the film press. Here is a link to the one published in Senses of Cinema.
Reviews of the book are still to materialise, and I would be most excited to see this volume reviewed internationally, at the periphery and in those locations whose cinematic cultures we aimed to discuss (e.g. Spain, Quebec, Denmark, Brazil, Morocco, New Zealand, Australia, China, Palestine, and others). If you are writing for the film journals in these (or other peripheral) countries, where there is likely to encounter particular interest to the writing included in the volume, for review copies, please be in touch with the Press’s coordinator Sarah Murphy at email@example.com. For the time being, we only have Ruby Rich’s lines that describe the book as a ‘collection of reflections that challenge conventional definitions of national film cultures’ that we can quote.