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    22 views8 pages

    The Child in World Cinema Introduction P

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    Cami En la Luna

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    © All Rights Reserved
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    Children and Youth in Popular Culture Series Bator: Debbie Olson, Miscou Valley College Children and Youth in Popular Culture festres works that nteogat the ‘Sous presentation of eilten and youth n popula cute well she [Reepton ofthese representations. The series is ntemationa n se0p8, 10 izing the transnational discourses about children and youth that have sid ‘hope madem and postmodern cldoods and adolescence. The scope ofthe ‘es ranges from suc subjects as gender, race class, and economic condi {fon and her soba inersections wi sues relevant to ehiren and youth eter repression in global popular ealtre children and youth at pay, vosraphies nd spaces (icing World Wide Web), materia cues, ada ‘Etzaton, sexuality culdrenofin war, eligon, children of diaspora you tnd the lay and more. Advisory Board [lla D'Amico, Waitworh University Markus PJ. Boblmann, Seneca ‘Cllege; Vibiane Bowmnan Cvetovi, Rutgers University; Adrian Schober, ‘tatlian Catolie Universty, Melbourne ‘Tiths in the Series ‘The Child in World Cinema ited by Debbie Oke Indian Victorian Chire’s Nrvtves:Animalng the atv, 1830-1830 ‘By Shilpa Bhat Ditota ‘Mf Chen: dn Ii no Chilaod Baangings Edited by Markus P., Bobimann ‘The Retoreal Power of Oban Literature ted by fn Saunders Clr the Flms of Steven Spielberg ited by Debbie Olson and Adan Schober Git Talk: The lence of Gre’ Series Fsion on American Popular Cte Eid by Lala D'Amico Cited Childhood Sues cn he Practice of Inerdsciplinary: Dcipining the Child ited by Magdalena Zolkos ad Younus Faulines ‘Te mire fer: Honoring Latinla Chirn’s ond Young Adu Literate ‘ofthe Aercas Eid by Lata Henderson The Child in World Cinema Children and Youth in Popular Culture Edited by Debbie Olson LexINGTON BOOKS Lana Boulder ® New York London ihe by Lexington Boks tin a Te Rann Lilla Pulting Gos, ts SOPPER dives sue 200 Laan, Mand 20706 Ui A Whitacre Mons, 26:4 Stary See Londo SELL AB Copyiht © 2018 by The Rowan & teil Ploeg Group, “aig rere o put of sk iy eer yf oy ee ae a ns ncn neato orgs ma eS, sgn or me on epee a einer wb ste ‘sage a evi sh teary Catosing Paina Intention Avail iary of Congres Cataloging in Paliaton Date Nas: Olu, Dee C1961 a. aa word ints Dele Olson io re ae a Lexan Dok 218 | Series: Coens you in ii iad bop vee ond 9S | Tess opty eae TEEN 1 ase890 ei) LCC 2017056574 coat {ISDN i i9 (eesti) DN 97619833807 (hh: ak pape SSE SSH Chitown a tin piores | Mvon pitas Devens ‘So lt | i pte ‘cm Cag 1c PM19959.045 (ia | LEC PNISHS9.CAS 37282018 (eho) DDC 791.43095— 23 Ae atl peso gow20 705880) Sth pigs wed in is pbliton et he mina equine of FC oa sandr frit Soe Peano apt ferred ieary Matra ANSUNISO 2594-1982 id i tnt Ses Amen Contents Induction PART I: SOUTH AMERICA 1 Girls onthe Big Sereen: Gender in Contemporary Agente Fl” Carling Rocka 22 “Chile in Bazan Cinematography” “Fabia de Amorim Marcello |3- From the Contrysie to the City: A Boy's Joumey and he ‘World 0 Know" LwiaRablo de Castro, Paula Uglon, an ‘doide Resende de Soca PART Ii: AFRICA 44 Tuming the Page: Memoros of French Algeian Childhood on Sreen” Crista Sones ‘5 “Fors and Variations of Children’s Relationship o Space in Francophone Alcan Fiction Films” Cartine bard {6 “Surfing o Adulthood: Chidhod, Coming of Age, and [National Transitions inthe South Afiean Fiton Otel Burning 2011)" Christine Singer a o PART II; MIDDLE EAST 77 “Ctilden’s Groups inthe Young State of lsrack: Simplicity tnd Complenty in the Calt Movie Hasamba & the Black Handkerchief Gang 971)" int Bara she! {8 StoleLos Childhood” and the IneretFaues of ‘Cncrtic Repression: The Case of Palestinian Chil Labor” Yaad Bix. Oni Grinberg ad Walaa Ghanayin 9 “The Representation of Urban Female Teenagers in Iranian Cinema” ia Reach, Negi Golravesh Flr, ond Seed Moon Habib PART IV; SOUTHERN AND EASTERN EUROPE, 10 “Lost Boys ofthe Franco Regime: Childhood, Masculinity and ‘Memory ia Recent Spanish Fn” esc Dviion 11. “The Figue ofthe Chil as Contrastry Signi in Contemporary Russian Cinema” ‘Mie! Brod 12. Thyough a French Lens: Romanian Kis andthe Wester [Narativ of Childhood” Ono Colace! PART V: INDIA 13. *Kaatha Mult Cow's Bag (dit. M: Manikandan, 2015) “anil Children in World Cinema” Sara Eswaran 14 * Cracking’ Nations/Nodons: A Study of Litle Lenny in Deeps Mebta’s 1947: Earth” Paromita Deb PART VI: JAPAN 15 “Westerizaton, entity, and Emerging Notions of Childhood inthe Fils of Ozu Yasui” Kelly J Hensen 16 °Kilw and Ioan Beyond the Shit Realism of Mixed Race ‘Orphan Postwar Japs” Kaori Mort Want ns 9 ws as 27 29 21s 2s su contents 17 “Abandon the Young in Tokyo Voshitar Nomura's ‘The Demon and Hoke Koroed's Nobody Knows” Kenta McGrath PART Vil: CHINA 18. “The Abducted Child Movie in Chinese Cine” Kobe Chan Yan Chuon 19. “The Child a a Viewdindr of History: Vision and Blinds in Chinese Cinema” Belinda Qian He 20 We Are All Usefil Poop Useful Children and the "Notion of Guan Transnational Chinese Cinema” Shen Sue Chen, Sn Wan Lan ad Lean Yo-chang Char 21. “Parable ofthe Lost Child: Zhang Vimou's Not One Less™ Ianto C. Bat PART Vili: NEW ZEALAND 22 Talking Back’ to the Mainstream —Pop Culture and the ‘tli the Cinema of Taika Watt” Caroline Grase Appendix: Children in World Cinema Selected Filmography Indes About the Cntbutors ey 388 os 1 4st as aa 499 Introduction Childhood Debbie Olson ‘nen when people tak shout “eildea” in general thee isan assumption fof ppe of chill to which they vefr—that “hid” is frequen visualized 5 wile, blonde and blue eyed plump and angelic inthe Westem Europe ‘Romantic tation. Tanaceace ad nations of puri also play key role in ‘Westem bis bout eile, as André Bain demonstrates: “A c's face lis fom us cnfitng responses. We marvel at i because aft aleady ‘nique et specially childlike characteristics... We ao ths secking to ‘onfemplate ourselves in them: ourselves, plus the innocence, awiewaress, Sind nalvet we lost. This kindof cinema moves us" Children should have ‘no knowledge about things like war, betrayal, eat, and, parca in the ‘United States, sex. The notion of childhood innocence, which hs become integral to child suc, gained ground during the transit int te mod- fem age when a child's purpose began fo shift. No longer were clea ex- ested to work to lp the family, they were nt jst ile humans axymore but rather, a5 Vivian A. Zeizer explains, eld became “saralized™ in response fo changing social canons: “propedy loved children, epardles ‘of social cls, bolonged in 2 domesticated, nonproductive world of lesan, ‘games, and token mouey." The potion of innocence and protection from ‘ult Knosledge and experiences isa fundamental part ofthis sseraization ‘of children, Spire in prt by works from Ameccan depression p= togapier ike Dorhes Lange and Levis Hine, who visually documented ‘poverty in rural agricultural areas andthe horendouscontions freien ‘working infctries, respectively, te wefulness of child to iso bee fam ily diminished as thir emotional worth tothe ideological family unit rse in importance And whit struc thet children ll over the word aeimpertant to thelr pares and to the futur of soriety the ways in which childhood ‘vole within the West has had global influence onthe notion of childhood ‘val For example, the ealtural if to the emotional and sensimeatl social Fimportnes ofthe Child was a Wester craton and was not extended 9 n00- ‘wte non-European cilren. Early scholarship about cilden and childhood, such as Philip Aris Cen ries of Chadhood (1962) and Lloyd DeMase's The History of Childhood (19), focused on European childhood as the surogate forall hldhoods ‘Many histories of childhood have also conned the assumption ofa univet- fates if ll children expecance the same ideology, spe, ply, and Sacio-ecmonc status. Mach of clldhood studies scholarship fumes discus ‘Sons about childhood with the unstated assumption thatthe child emerges from a Wester postion wit ite to no distinction between the el lived, ‘ull experiences of cilren globally. As Hugh Cunningham sts in bis took The mention of Childood (2006)—where childhood occurs in Briain thu he Wes in eneal-notons of caldhood come frm “adults imagining ‘Sildbod, inventing i, i order to make sense of thei worl.™ But Cun ‘Singha’ tile infers that hildiod tae was created bythe West, 8 well, {a Hightightng “how very white the roms child has been” within such scours? "Adult ideas about what childhood is or sould be have influenced the couse about cldhood and have even shaped public policy concering the ways in which a eltre vals o eres for its children eas about n- cence and who iso snot innocent have alse informed dominant images of edie in ansream vial media. Discourse about een and ei ood is ofen framed in universal terns tat is “The Chil” yet such dis. ‘oures also imi the scope of eildhood Yo Wesiem standards. The notion of Inocenec dominates the ea ofthe child, as Anne Higonnet explains: “The chil leah is what grabs our attention —those dimpled nbs and knuckles, those round cheeks, silken ba, that absolutely perfect skin... . Most of all these children bolong tothe past, o else belong to forever, not to tel time, but timeless utopia (no place) But imocenes—the eancep—i 8 ‘modem sentimental invention, as Gary Cross explains in The Cute andthe (Cool, “ages of babies and toddlers rake us adults elas if we have ‘plured tine in our children when they were sil potential and no aston ‘lishment. Chidiood has become atime to cherish and to proses from {he modern Fall of growing up” "Tolay’s technological advances and global spread of capitalism as pushed the idea of protecting” the innocence of children to te foreground, ft politcal and social discourse, raising concerns by some abou the loss of ‘hlabood, or the aulficaion ofcildhood* For instance, with loba ac ‘xs fo digital mela, Hollywood flms—and their images ofthe West—are Niowed workdwid, cluding fins about and featuring children. Disney alone has been extremely infuendal in shaping adult views of cildbood. Soch assumptions sbout children and childhood, about imooence and be Tits about who eile are, farm the bass fr wit this collection hopes to thallenge, We sel to explore eildhood in cinema beyond the eonne of ‘Wester cient and dens about children. Despite the fat thatthe ital age has allowed fora wider distribution fr intemational ms, very few ofthese Sins are widely seen by Westem audiences. Indeed, the reresentation of Children in film s evident ia cinematic works from every region ofthe worl? “Tis collection oes courter-aarative to the universal child characte, end expands the cinematic image of the child beyond the Wester ideal Images ‘non-Western children nlm are often ede fom discussions about chide hood within a wide ange of eltural, political and social mates. The Wes «em rae work for “The Chil lis on problematic notions of innocence or purty, hich ae then used to pevilepe white, suburban, mide clas notions (of childhood. Global, non-Western cinemas feature children, and the tap- Pings of ildhood, i a compelling and hl textured pat fom wat is Porayed within the lnited an isting views of Wester cinema, CHILDREN IN FILM ‘Many studies ofthe child character in film, o ims made for chile, t00 ‘often focus on West films and Westom modes of childhood, Indes, Westen fils and visual media sometimes heavily influence adult tudes sin blifs about wht clildod shouldbe. As Kaen Lury observes, “the tegory of eildhood and the figure of the cil ae eaught up in and enact the ambitions and ideology’ of modmy andthe West" For Lee Edelman, “rhe Child has come to embod for us the elas of the soil err ar come to be ean as the ane fr whom ha errs held in trust. for this universal jae subject, this fantastic Chil." But to often discussions of chilen's film focus not onthe atibutes of eildhood inthe context of elt, but rater, how those tributes compare to Wester notions of eilhood. For in- ‘ance lan Wojcik Andrews Children’s Fis: Misory,Isolgy, Pedagogy, ‘Theory is inited to European or Aneican ims asthe universal standard for any children inf, His singular seknowledgement of ether cinemas, and bere Wajik-Audievs sopeciiously labels all nonWestem cinema ts “Third World Cinema” is caracterized thus: “Given is oppositions, ounterinsurgnt nature, Third Woed einema inevitably dav inspiration fiom Marsism. Generally, Third World cinema emphasizes realistic ap- poset othe production of fins (echoing the Malian Nearest), the use of hoo-pofesional actors. and loa, actual stings... Generally, Third a Ira ‘Werldcneaa shows te injustices ofthe world as thas injustices aot the Sirs poor clren." Such characterization fall lob cinema stain Shien a Third World and slays "Marxist" exemplifies the problem the ‘Jest has with ther deologieal blinders that finite cope of childhood to Romogenous vison Ined, the hgemoay of Holywood film, and os ‘Rtuiny of Diane, on the world stage has spread the westemized notion of ‘GHlhoed far beyond the borders ofthe United States; Fr instance, it would eaiimeal tsk to find child inthe wold who as nr heard ofa Disney film oe character. Th ts fn sty ofits kind, researchers Janet Wasko, Mask Philips and tilcon R Mechan looked atthe lobal prevalence of Disney. n Daze by Diy? The Global Disney Audiences Project, Wasko, ot looked at "2 {oul of 1252 respondents represening 53 separate nationalities" inan effort {D undestand "a tansntional media conglomerate from the perspective of ‘Bowe nccivng i offerings"? They terviwod people fom a wide vate Tr ounaesineluding Denmark, South Aca, Brazil Grsce, Cyprs Inia, Shade and Singapore, to nase jst a fet. What they Found was tat “98 ‘Mate have viewed a Disney ln; 79 percent have sco Disney television epg (ot inclong the Disney channel)... 72 percent have rented « pune) vide 82 perout have read a Disney book... and] 72 percent Fine tsa Disney merchandise as gif." These findings show the [Boba presence of Westem media bout childhood, ba also ras interesting ‘Gosstow abut the ways Wester media and Disney may be psting aside, eX rowning out local notions of childhood and te childhood experience. Thscallestion secs to broaden te discussion ofthe child image by ese analysis of the eld and ctldhood as depicted in aon-Westem cinemss ‘Ynile Wester cinema with chil characters tends tobe framed by linear nar Faves that “begin with a disruption apyselly ar emotionally violent event ‘Parrots the eld forward on 4 jure." the facinating aay of na tative muliplisiies within global coma offers new vision of complex a TRaasingf yet magical and playful childhoods, As Andié Bazin describes, Shure’ uly play oo the ambigity of our interest in those miniature Fran Beings, Come to tink of these Hs test chilood precisely as if itoereepen fo our understanding and empathy. [ese film's rey] suc ridteam'our sympathy for eilen who manifest fesings that ae Compre Trani tos The fis featured inthis volume provide arch and varied Tencscape that challenge interrogate, and somtimes converge with Westem tions of the cil and eildhood. "The volume is ananged by continent and begins in South America wits ‘carting Roca’ look atthe way gs are porrayed in cutemporary Arge= tine Cinema, She insta in eles ls, gs take o theo of nlgtened Cand su social ators that advocate for gender divesy in hpes of ehieving "amore Fncusive society In chapter 2, Feiana da Azorim Marcell looks atthe d)~ namics of fitendsip between marginalize ire in Bazan cinema. She [rues ta fortes hlde,endship provides sabi ina wld where ty fue redemption uncertain amid the “gps inhumanity” tht te efron xpetene, And in eper 3, Lacia Rabele de Casto, Paula Ugiove, and Ade ‘ide Rezende de Souza examine the Bazan animate fim The Boy and he World (O Menino «0 Mando, 2013), dieted by AIG Abr. They argue that, ‘he fn views eildnood a sssoatd with displacement and anstormat in vgs tha suggest childhood subverts “canonical standard tht have regu Iaed childhood as « Wester and moder social contcon.” The next section exainesAffican ms that feature een In chapter 4, Christa Jones looks three films, Alexandre Aready's Le Coup desroceo (979) and MerzakAlloache's La Bote d°lger 2011, English: The Bay of Ligier), Me Chase's Cartochesgaultses (2007), an thet porayal of ‘ne intense, “acelerated” childhoods of eilren during the FrenehAlgerian ‘van Tones examines the Completes ofthe “pleds-noirs (le deseendants ‘of European sets bom in Algeria before independence) children wo call ‘Alger thei home" bat who “lose both thir eildhood andthe physical ‘and emeionl place they’ eall home," as they are forced to move to France, ‘county they ave never know. In chapter 5, Carlie Landy explores the Thay Affican directors use cierography and symbole paces, such as w= thn or rural aces, to highlight the figure of te eid and the nepoiton with trediion/modemniys ad Sanil/socity. Christine Singer takes a lok athe 2011 South Aan fila Oteo Burning, dicted by Sara Blecher, in chapler 6 Singer argues tha children’s coming-of age joumney inthe fm faetons ‘tsa motor for South Affia’s anion fom apartheid to democracy. For ‘Singer, childhood in Otelo Burn se “allegory forthe social and poical prodeament of the South Afcan nation under apartheid.” Tn films from the Mile Eas, we begin wth Einat Baram Eshel’s chapter cn the 1971 film, Hasamba & the Blak Handkerchief Gang directed by Jel ior. Bazan Eshel gests thereon why Zing chos to make this fl fs tnieately connerod to the soa climate in Israel tthe end ofthe 19608 fa “ine conception of childhood thst flowed afer the creation ofthe ‘Shte™ amidst emerging literary and cinematic genres ofthe time In chapler 8, You Eliaz, Omi Grinberg, and Wala Ghanayim look atthe doeumen- tary film Penns (2015) by Palestinian Israel detorBadran Dadian. They fevamine how te film uses the “nissng cid” as @ metaphor forthe ways ‘ildhood itself ean "go missing” within the poverty and power struggle of the Palestnin-srasi colt. In chapter 9, Mina Reza, Negin Golravesh s Iran Feloy and Seyyed Mobson Habibi offer a camplling examination ofthe ayy nba fae teenagers are prayed in Iain einen “Thane 1 ieduces nse pars of Europe tat ae generally etna in rack tosses about West cidood, Jessica Davidson Took a msc Med cldhood i fo extemporay Spas ms, The Devi’ Backbone {Geller del Tore, 2001 and Bad Edvction (Pero Ako, 200) She (sta these ins preset “contested sess of masini, ot he Bee are nde of National Cahoisn” thatthe state espouses a cept 12 es tue oft Cid asa Conradicrory Sig in Rusia Cinema” ME cree ask ares tht the cinstic depiction ofthe Rusia child a ines careoealy cppene™ to the "generic consrcions of Westen childhood.” emia 2 terres Ont Colicels “Through a reach Lent: Romanian ‘Sainte te Westem Naratve of Childhood,” in which he calenss the ‘Shporeyel of Romanian chien in West im. Per quve wo india, wich begins with Swamavel Eswaran’ chp oe tat Tail Children in Global World Cinema.” Eswaran a5 Teese fon moves avay fom the sureaypealporzayal of Tam cilen so heal ins, and inseadprsonts a positive couner-nartve about Pree en Ia chapter 1, Paria De argues tht Deca Met's fi ret ah ighghs te unig ays the gi rotagoist “ens and eee her eoeging identity anit be parton, “he ‘crackin’ of nda” Th cetion on Japan opens with caper 15 and Kelly. Hansen's, wetenizaien, Menity aad Emerging Notion of Childhood ia the Films Ghia On Se argues hatte slow Westemizatio of hildnod: as pice in slot apanese fins, relect the sing aides toward children ar alnood tat has had lasting effets on childhood idetty formation ee fata ond ame Beyond te Shitty Realism of Mixed-Race Orpins in Panwa Japan, Keoei Mor Want examines the role of racism in Japanese Pesci ar depicted in Hm, In chapter 17, Kenta MeGiathloks at he issue sei soondonment and demonstrates bow Yoshitard Nomers’s Bi The ‘Fea and Hirokaza Korseds’s film Nobody Krows use the image of the rata cmitvr to reflect and eniigue contemporary realities within Japan, Su thy simultaneously and defiantly uphold the ci sa sya of es rae wed hopes" McGrath examines how bot ils etebrate the eapsvating rele of cir. ‘laser 8 bogas the section on China. Kobe Chan Yan Chuen ook a hs rachel fi, andthe ways these fs etcize the “one-hild” oly, She aru ht the fils highlight hw the oly erates condone povctaimaely encourage child abvetions and taficking, In chapter 19 The

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