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"World cinema is simply the cinema of the world. It has no centre. It is not the other, but it is us. It has no beginning and no end, but is a global process. World cinema, as the world itself, is circulation.

World cinema is not a discipline, but a method, a way of cutting across film history according to waves of relevant films and movements, thus creating flexible geographies.

As a positive, inclusive, democratic concept, world cinema allows all sorts of theoretical approaches, provided they are not based on the binary perspective." Lúcia Nagib

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World Cinema Student Spotlight

Tate Fowler & Autumn Shepherd

Tate Fowler is a senior World Cinema Major who has worked with WCBD News in Charleston and is currently on track to attend law school for entertainment law. Tate can tell you at any time the exact amount of films he’s seen (1,471 as of the typing of this bio) and his favorite film of all time is Jurassic Park. When he’s not watching movies, Tate can be found working or working out at Fike along with participating in Clemson Student Government and being a CAAH Ambassador.

Autumn Shepherd is a World Cinema Major and an Art Minor. She has interned with {C} Magazine in Atlanta and now looks forward to working on the two documentaries being produced on the Clemson Campus. She aspires to work in film production as a cinematographer or as a screenwriter and draws inspiration from old thrillers and fantasy films. Autumn’s favorite movies are The Omen (1976) and Legend (1985) and she is constantly looking for more classic films to watch. She is always eager to hear film recommendations unless it has anything to do with Michael Bay.

World Cinema Faculty Spotlight

Maria Bose

Maria Bose is assistant professor of Media & Cultural Studies at Clemson. Her current project is Cinema’s Hegemony, a cultural-materialist account of cinema’s primacy to an unfolding phase of Asia-led global political economy. Surveying nationalist films of the past two decades—those emanating from the production centers of rising hegemons (China, India) and falling ones (the US, the UK)—the book recognizes levels of theoretical sophistication and self-interest for which nationalist genres are rarely given credit. Powerful post-imperial nostalgias animate American and British docudramas about the wars in Afghanistan and Iraq, while equally powerful neo-imperial anxieties subtend Chinese and Indian counterterror thrillers. Those nostalgias and anxieties channel crises of imperial breakdown and neo- and sub-imperial buildup in complex fashion—but their overarching goal isn’t exclusively the production of nationalist propaganda. Rather, these films extend nationalist genre’s traditional propaganda function in ways calibrated to reaffirm the unity of cinema and state in an advanced global system whose imbrication and volatility threaten the integrity of both. They do so, Cinema’s Hegemony suggests, not by recommitting cinema to the production of bombastic nationalist imagos but rather through the parallel construction of cinema and state’s twenty-first-century reckonings—by carefully indexing and intentionalizing national film industries’ relation to states’ shifting domestic fortunes and to the evolving situation of global empire. In short, Cinema’s Hegemony reads the genre as a critical cathexis for the film industry’s twenty-first-century self-understanding: a site of densely self-reflexive industrial articulation keyed to preserving cinema’s preeminence within increasingly diversified landscapes of media and mediatization.
Trained at Stanford and UC Irvine, Bose pursues media-industrial and political-economic reading methods in her World Cinema courses, most recently in a section of “Global Hollywood.” She is delighted to advise students interested in all aspects of twenty-first-century film & media studies, cultural materialism, and cultural politics.