Cinema, Cross-Cultural Collaboration, and Criticism
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Published By Palgrave Macmillan

9781137411570

Latest Documents Most Cited Documents Contributed Authors Related Sources Related Keywords

"An Instrument of Actual Change in the World"

Cinema, Cross-Cultural Collaboration, and Criticism ◽

10.1057/9781137411570.0006 ◽

2014 ◽

Keyword(s):

The World ◽

Actual Change

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Introduction Cinematic Cross-Cultural Collaboration

Cinema, Cross-Cultural Collaboration, and Criticism ◽

10.1057/9781137411570.0005 ◽

2014 ◽

Keyword(s):

Cross Cultural

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"A Space Being Right on That Boundary"

Cinema, Cross-Cultural Collaboration, and Criticism ◽

10.1057/9781137411570.0008 ◽

2014 ◽

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"My Whole Area Has Started to Be about Whats Left Over"

Cinema, Cross-Cultural Collaboration, and Criticism ◽

10.1057/9781137411570.0007 ◽

2014 ◽

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Conclusion Modelling Collaborative Criticism

Cinema, Cross-Cultural Collaboration, and Criticism ◽

10.1057/9781137411570.0009 ◽

2014 ◽

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Conclusion — Modeling Collaborative Criticism: What Does It Mean to Collaborate Cross-Culturally in Cinema?

Cinema, Cross-Cultural Collaboration, and Criticism ◽

10.1057/9781137411570_5 ◽

2014 ◽

pp. 103-117

Author(s):

Davinia Thornley

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“A Space Being Right on That Boundary”: Critiquing Cross-Cultural Collaboration in Aotearoa New Zealand Cinema

Cinema, Cross-Cultural Collaboration, and Criticism ◽

10.1057/9781137411570_4 ◽

2014 ◽

pp. 74-102

Author(s):

Davinia Thornley

Keyword(s):

New Zealand ◽

Cross Cultural ◽

Aotearoa New Zealand

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“My Whole Area Has Started to Be about What’s Left Over”: Alec Morgan, “Stolen Histories,” and Critical Collaboration on the Australian Aboriginal Documentary, Lousy Little Sixpence

Cinema, Cross-Cultural Collaboration, and Criticism ◽

10.1057/9781137411570_3 ◽

2014 ◽

pp. 51-73

Author(s):

Davinia Thornley

Keyword(s):

Australian Aboriginal

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“An Instrument of Actual Change in the World”: Engaging a New Collaborative Criticism through Isuma/Arnait Productions’ Film, Before Tomorrow

Cinema, Cross-Cultural Collaboration, and Criticism ◽

10.1057/9781137411570_2 ◽

2014 ◽

pp. 23-50

Author(s):

Davinia Thornley

Keyword(s):

The World ◽

Actual Change

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Introduction — Cinematic Cross-Cultural Collaboration: Filming on an Uneven Field

Cinema, Cross-Cultural Collaboration, and Criticism ◽

10.1057/9781137411570_1 ◽

2014 ◽

pp. 1-22

Author(s):

Davinia Thornley

Keyword(s):

Cross Cultural

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Cinema, Cross-Cultural Collaboration, and CriticismLatest Publications

TOTAL DOCUMENTS

H-INDEX

Published By Palgrave Macmillan

"An Instrument of Actual Change in the World"

Introduction Cinematic Cross-Cultural Collaboration

"A Space Being Right on That Boundary"

"My Whole Area Has Started to Be about Whats Left Over"

Conclusion Modelling Collaborative Criticism

Conclusion — Modeling Collaborative Criticism: What Does It Mean to Collaborate Cross-Culturally in Cinema?

“A Space Being Right on That Boundary”: Critiquing Cross-Cultural Collaboration in Aotearoa New Zealand Cinema

“My Whole Area Has Started to Be about What’s Left Over”: Alec Morgan, “Stolen Histories,” and Critical Collaboration on the Australian Aboriginal Documentary, Lousy Little Sixpence

“An Instrument of Actual Change in the World”: Engaging a New Collaborative Criticism through Isuma/Arnait Productions’ Film, Before Tomorrow

Introduction — Cinematic Cross-Cultural Collaboration: Filming on an Uneven Field

Cinema, Cross-Cultural Collaboration, and Criticism
Latest Publications