Notes on Contributors
Introduction to Volume One, by Lina Khatib
'National' Forms of Storytelling
Aristotle Did Not Make It to India: Narrative Modes in Hindi Cinema, by Claus Tieber
Tootsie Meets Yesilçam: Narration in Popular Turkish Cinema, by Savas Arslan
Jewish Humour and the Cabaret Tradition in Interwar Hungarian Entertainment Films, by Anna Manchin
Storytelling and Literary and Oral Forms
Third Person Interrupted: Form, Adaptation and Narration in Tony Takitani, by Chris Wood
The Labyrinth of Halfaouine: Storytelling and the 1001 Nights, by Stefanie Van de Peer
'Leaping broken narration': Ballads, Oral Storytelling and the Cinema, by Adam Ganz
Rethinking Storytelling Forms in African Cinemas
Storytelling in Contemporary African Fiction Film and Video, by Lindiwe Dovey
That's Entertainment? Art, Didacticism and the Popular in Francophone West African Cinema, by David Murphy
Intriguing African Storytelling: On Aristotle's Plot by Jean-Pierre Bekolo, by Matthias De Groof
Storytelling and Visual Forms
Pirosmani's Passion: Narration and the Aesthetics of Pirosmanashvili's Paintings in Georgian Film, by Gesine Drews-Sylla
When the Story Hides the Story: The Narrative Structure of Milcho Manchevski's Dust, by Erik Tängerstad
Refusing to Conform: Forms of Non-narration
Primitive Gazing: Apichatpong Weerasethakul's Sensational Inaction Cinema, by Matthew P. Ferrari
Ghosts in the National Machine: The Haunting (and Taunting) Films of Tracey Moffatt, by Jennifer L. Gauthier
The Reluctance to Narrate: Elia Suleiman's Chronicle of a Disappearance and Divine Intervention, by Linda Mokdad
Index

Storytelling in World Cinemas, Vol. 1: Forms is an innovative collection of essays that discuss how different cinemas of the world tell stories. The book locates European, Asian, African, and Latin American films within their wider cultural and artistic frameworks, showing how storytelling forms in cinema are infused with influences from other artistic, literary, and oral traditions. This volume also reconsiders cinematic storytelling in general, highlighting the hybridity of 'national' forms of storytelling, calling for a rethinking of African cinematic storytelling that goes beyond oral traditions, and addressing films characterised by 'non-narration'. This study is the first in a two-volume project, with the second focusing on the contexts of cinematic storytelling.