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<div>Critical Arts: South-North Cultural and Media Studies 31(5)</div>
<div>Special Issue: Cinema at the End of the World</div>
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<div>Guest Editors: Antonio Traverso & Deane Williams</div>
<div><a href="https://www.tandfonline.com/toc/rcrc20/31/5" class="OWAAutoLink" id="LPlnk438769" previewremoved="true">https://www.tandfonline.com/toc/rcrc20/31/5</a></div>
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<div>In November 2015, a collection of scholars from across the southern hemisphere, and some from the north whose interests are southern, gathered at Monash University, Melbourne, for the inaugural Cinema at the End of the World conference (note: planning
is already underway for a Cinema at the End of the World II conference, to be held in Sao Paulo, Brazil, in 2019). With delegates from the Republic of South Africa, Australia, Aotearoa/New Zealand, Chile, Brazil, Argentina, the USA and the UK, the conference
proved wildly diverse in terms of topics and approaches, as well as sharing a common sense of camaraderie in one of the southernmost cities in the world. The essays collected in this special issue of Critical Arts were developed from papers presented at the
conference. The denomination Cinema at the End of the World can be understood in various interrelated ways. Firstly, it alludes to the material conditions of cinematic culture emerging in the world’s most remote locations, including film production, screenings,
and implausibly located cinema houses. Secondly, it refers to the innovative, independent cinemas not only of southern hemisphere nations but the cinemas of the Global South. Third, there is also an undeniable apocalyptic sense invested in Cinema at the End
of the World, which we address here in terms of the critical and transformative vitality involved in the Global South’s project of decolonisation rather than the purely dystopic anxieties mobilised by the Western imaginary of world endings. The Cinema at the
End of the World collection seeks to prefigure a critical footing for cinematic culture from and for the Global South in the face of hegemonic Western eschatological traditions and discourses, invoking in this way the paramount role that cinematic representation,
reflection, and imagining are to play in the context of the ominous global challenges that we all face as we accelerate through the twenty-first century. These challenges are tragically epitomised by the melting of the planet’s polar ice and the resultant
predicament of Pacific island peoples threatened by the imminent disappearance of their homelands due to rising oceans; a catastrophe directly caused by global warming, for which the industrialised, consumption-obsessed societies of the Global North are mostly
responsible. In the context of such urgent global concerns and attendant critical and cultural responses, this special issue of Critical Arts considers screen culture’s engagement with cross-cultural translation and transformation, settler culture and modernity,
indigenous and localised media practice and theory, and representations of trauma and violence from a southern perspective, seeking to create conditions for the generation, sharing and circulation of new knowledge that is both southern and about the Global
South.</div>
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<div>INTRODUCTION</div>
<div>Cinema at the End of the World</div>
<div>Antonio Traverso & Deane Williams</div>
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<div>ARTICLES</div>
<div>Between Political Film and Militant Video: An Analysis of the Discussions at the Rencontres Internationales pour un Nouveau Cinéma, Montreal, 1974</div>
<div>Mariano Mestman</div>
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<div>The Return to the Social through the Collective “I”: Disrupting the Uneventful Face of Neoliberal Precariousness in the Chilean DocumentaryEl otro día</div>
<div>Walescka Pino-Ojeda</div>
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<div>Representations of Women’s Agency in African Anti-colonial Struggles: The Case of Sambizanga (1972) and Mapantsula (1988)</div>
<div>Norita Mdege</div>
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<div>After Death: Public Mourning, Discourse, and Myth in the Afterlife Representations of a Tanzanian Movie Star</div>
<div>Claudia Böhme</div>
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<div>DOSSIER</div>
<div>Screen Genres of Reconciliation in Australia, Chile, Rwanda, and New Zealand</div>
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<div>Not Reconciled: Grey Matter (Ruhorahoza 2011) and the Lacunae of Post-genocide Rwandan Cinema</div>
<div>Mick Broderick</div>
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<div>Top of the Lake’s Emotional Landscape: Reparation at the Edge of the World</div>
<div>Susannah Radstone</div>
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<div>La Flaca Alejandra: Post-dictatorship Documentary and (No) Reconciliation in Chile</div>
<div>Antonio Traverso</div>
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<div>Disturbing the Peace: The Ghost in beDevil and The Darkside</div>
<div>(Felicity Collins)</div>
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<div>ARTICLES</div>
<div>Be Careful, Cowboy: The Translation and Mutation of the Western Genre in Red Hill</div>
<div>Nicholas Moll</div>
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<div>Transnational Telenovela Remakes: Challenging Dominant Models and Old-Fashioned Heroines</div>
<div>Sofia Rios</div>
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<div>Different but the Same: Landscape and the Gothic as Transnational Story Space in Jane Campion’s Sweetie (1989) and Lucrecia Martel’s La Ciénaga (2001)</div>
<div>Margaret McVeigh</div>
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<div>Mapping the Landscape with Sound: Tracking the Soundscape from Australian Colonial Gothic Literature to Australian Cinema and Australian Transcultural Cinema</div>
<div>Anne Barnes</div>
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<div>Kangaroo: The Australian Story</div>
<div>Constantine Verevis</div>
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<div>Beyond Poetics: Raúl Ruiz’s Rethinking of Narrative</div>
<div>Julia Vassilieva</div>
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<div>The Maslyn Williams Network</div>
<div>Ross Gibson & Deane Williams</div>
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