On the occasion of the Russia-Ukraine conflict and the use of cinema as a propaganda tool within this specific dispute, the author undertakes an innovative project, that of highlighting the geopolitical parameters of film production in general.
Her analysis, which draws conceptual tools from various academic fields, demonstrates that cinematic events are inseparable from the geopolitical dynamics that determine the relationships between states and/or between local communities within the borders of the same nation.
These are dynamics driven, on the one hand, by the use of cinema as a soft power weapon that "transmits values and ideology," and, on the other hand, by the fundamental goal of dominant film industries to expand their economic activities beyond their national borders or even at the expense of domestic industries in which minority communities are represented.
This book articulates a reflection on the multidimensional geopolitical stakes of cinema in the 21st century, a reflection that repositions them within a history of cinema that is already a century old.
From the globalization of the film economy to the advent of the streaming platforms era, this volume examines what public and private actors in the cinema and audiovisual media sectors have done to secure dominant positions in the film market, while also shaping the framework within which cinema operates as a production process, consumer product, and art form.
