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This book explores the development of Robert Lepage’s distinctive approach to stage direction in the early (1984–94) and middle (1995–2008) stages of his career, arguing that globalisation had a defining effect in shaping his aesthetic and professional trajectory. It combines examination of Lepage’s theatremaking techniques with discussion of his work’s effects on audiences, calling on Lepage’s own statements as well as existing scholarship and critical response. In addition to globalisation theory, the book draws on cinema studies, queer theory, and theories of affect and reception. As such, it offers an unprecedented conceptual framework, drawing together what has previously been a scattered field of research. Each of six chapters treats a particular aspect of globalisation, using this as a means to explore one or more of Lepage’s productions. These aspects include the relationship of the local (in Lepage’s case, his background in Québec) to the global; the place of individual experience within global late modernity; the effects of screen media on human perception; the particular affect of ‘feeling global’; the place of branding in contemporary creative systems; and the relationship of creative industries to neoliberal economies. Making theatre global: Robert Lepage’s original stage productions will be of interest to scholars of contemporary theatre, advanced-level undergraduates with an interest in the application of theoretical approaches to theatrical creation and reception, and arts lovers keen for new perspectives on one of the most talked-about theatre artists of the late twentieth and early twenty-first centuries.

the cases of Lucrecia Martel and Isabel Coixet
Paul Julian Smith

following: How might auteurism continue to adapt itself to the processes of ‘globalisation’, namely the apparent ‘deterritorialisation’ of some forms of cultural production and the elaboration of new transnational systems of distribution with the accompanying fragmentation of mass markets and the targeting of particular audiences

in Hispanic and Lusophone women filmmakers
Renegotiating Chilean identity in Alicia Scherson’s Play (2005)
Sarah Wright

‘people of the earth’), the Mapuche have suffered deterritorialisations from successive governments. Constituting around 5 to 10 per cent of Chileans, from 1881 to 1920 the Mapuche were gradually relegated to just 3,000 ‘reductions’: 6.4 per cent of their original territory (Park and Richards, 2007 : 1321). The Pinochet regime practised a form of ethnic cleansing by privatising indigenous lands. Dissenters were tortured or

in Hispanic and Lusophone women filmmakers
The short films (2010–11)
Deborah Martin

which oppose human and animal, and suggest liberatory bodily relations and practices beyond the human. As Deleuze and Guattari write, becoming-animal ‘under­ mines the great molar powers of family, career and conjugality’, it is ‘an irresistible deterritorialisation that forestalls attempts at profes­ sional, conjugal or Oedipal reterritorialisation’ (2004, 257). It is, as in Pescados, a movement from the individual to the multiple: it ‘always 116 The cinema of Lucrecia Martel involves […] a multiplicity’ or ‘modes of expansion, propagation, occupation, contagion

in The cinema of Lucrecia Martel
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Stephanie Dennison
Lisa Shaw

) and the periphery (Brazilian film). 16 Canclini’s work on ‘deterritorialisation’ and intercultural movements across the US–Mexican border is particularly useful in the context of Latin American re-workings of Hollywood paradigms. He analyses hybrid and simulated cultural products in the context of the border experience in cities like Tijuana, and argues that the home-grown version becomes a resource for

in Popular cinema in Brazil, 1930–2001
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Music and the multicultural city
Caspar Melville

transformation its sonic radicalism implied? Gilbert has argued that though club cultures like rave and jungle offered the possibility of ‘the deterritorialisation of certain kinds of subjectivity – and the potentiation of radical new modes of collective desire’, these processes are all too easily ‘reterritorialised by new figures of sexualised and commodified identity’ (Gilbert 2007: 7). In this writing about the possibilities of music cultures to offer new alternatives, melancholy is 234 London.indb 234 04/10/2019 12:00:20 Epilogue: music and the multicultural city the

in It’s a London thing
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Screening capital and culture in Airbag and Smoking Room
William J. Nichols

with films considered to be ‘Spanish’ or exemplary of Spain’s national cinema. Ironically, Smoking Room , with its blatant absence of identifiable generic markers, shares this sense of displacement, dislocation and deterritorialisation with Airbag , considered un-Spanish precisely because of its integration of genres specifically considered ‘Hollywood’. Interestingly, the

in Contemporary Spanish cinema and genre
Pedro Almodóvar’s transnational imaginary
Carla Marcantonio

in Tacones lejanos ultimately has to do with the fact that Rebeca and Becky are ‘perpetually out of phase; they cannot bring voice and body together in the same, present, space of desire’ ( 2004 : 279). Tacones lejanos proves to be a maternal melodrama deeply infused with a sense of deterritorialisation. Almodóvar thus provides a global landscape increasingly determined by deterritorialisation

in Contemporary Spanish cinema and genre
From Le Thé à la menthe to La Fille de Keltoum
Carrie Tarr

destin address the topic head on. Their different but complementary strategies aim to defuse hostility to Islam on the part of a majority audience and distance the Islamic community in France from terrorism in Algeria. Whereas the set of films discussed above were organised through narratives of displacement and deterritorialisation, these two films both focus on a more settled multi-ethnic/immigrant community. 100% Arabica (1997) and La Nuit

in Reframing difference
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Karen Fricker

relation to their ‘social reality’ whereas écriture migrante articulates ‘a modification of the subject in the very movement of creation’. The overuse and imprecision of the terminology écriture migrante has ‘become essentialist in its desire to eulogise, at all costs, a generalised deterritorialisation’, argues Harel, evidence of a ‘symptomatic malaise’ in Québec around issues of identity (58 ff).ix The conceptualisation of Québec-as-ambivalence, then, is problematic, inasmuch as this classification can become a blind, eclipsing the complex realities of a population

in Robert Lepage’s original stage productions