The national and beyond the globalisation of Finnish cinema in the films of Aki and Mika Kaurismaki /
I tiakina i:
| Kaituhi matua: | |
|---|---|
| Kaituhi rangatōpū: | |
| Hōputu: | Tāhiko īPukapuka |
| Reo: | Ingarihi |
| I whakaputaina: |
Oxford ; New York :
Peter Lang,
c2010.
|
| Rangatū: | New studies in European cinema,
v. 12 |
| Ngā marau: | |
| Urunga tuihono: | An electronic book accessible through the World Wide Web; click to view |
| Ngā Tūtohu: |
Tāpirihia he Tūtohu
Kāore He Tūtohu, Me noho koe te mea tuatahi ki te tūtohu i tēnei pūkete!
|
Rārangi ihirangi:
- The cultural context of the Kaurismäkis: Finnish films for Finnish people?
- Developing post-national forms of cinema, 1981-1985. Displaced souls lost in Finland: the Kaurismäki's films as the cinema of the marginalised
- Between convergence and divergence: the transvergent cinemas of Aki and Mika Kaurismäki
- life in a capitalist welfare state: marginal hope and dystopian prophecies
- Socio-economic exclusion and the fragmented individual. Aki Kaurismäki's proletarian trilogy and Hamlet Liikemaailmassa
- Mika Kaurismäki's "life-politics trilogy" post-nationalism between the welfare state and global capitalism
- The international adventures of the Kaurismäkis. The search for post-national stability: Mika Kaurismäki's international films, 1987-1990
- The problems of post-national integration: Aki Kaurismäki's international films, 1989-1992
- Transnational travel and the difficulty of "home": projecting the post-national condition for an EU-integrated Finland
- A return to home: Aki Kaurismäki's Leningrad cowboys meet Moses, Total balalaika show and Pida Huivistasi Kiinni Tatjana
- A farewell to Finland: Mika Kaurismäki's The last border and Tigrero, the film that was never made
- Conclusion.