Contents:
More important, the transnational nature of film production and circulation problematizes using ancestry and nationality as a prior rationale and logic to define identity. Considering Chinese and Chinese diaspora film, two recent scholarly volumes tackle issues of spectatorship, representation, and identity from a transnational perspective: In addressing the global circulation of films, both books deal with the overlapping contact zones between Chinese diasporic cinema and other cinemas such as Hollywood, etc.
Each book suggests a different paradigm for theorizing the multidirectional flows of capital, people, film traditions, and politics in the overlapping zones. The anthology deals with the multidirectional trajectories of filmmaking networks and cultural production, particularly focusing on the work produced by major filmmakers and film artists who shuttle between Hollywood, European, Asian American, and Chinese cinemas. In this case, Marchetti et al. In general, Chan indicates that such an uneven power relation in the Chinese-Hollywood relation is revealed in two major ways: Both of these aspects reflect how mainstream U.
The Martial Arts Cinema of the Chinese Diaspora: Ang Lee, John Woo, and Jackie Chan in Hollywood [Professor Kin-Yan Szeto] on www.farmersmarketmusic.com *FREE*. arise out of the Chinese diaspora and travel far from their homelands to find commercial success in the world at large: Ang Lee, John Woo, and Jackie Chan.
Chinese Connections in transnational China: In another essay, Aaron Han Joon Magnan-Park examines the reception of Hong Kong cinema in France and discusses how Hong Kong cinema, particularly action film, should not be considered simply as ethnic cinema but instead as part of a transnational film phenomenon. In particular, she investigates close links between hip-hop and Hong Kong martial arts films, and how these cultural phenomena address experiences such as marginalization, cultural imperialism, colonialism, nationalism, and political subordination. In contrast, Gayle Wald points out important transitions in the U.
Chinese Cinema During the Era of Reform: The Ingenuity of the System. Soundscape and the Memory of Taking a semiotic approach to film sound, I scrutinize how the post trauma makes its presence as an acoustic and psychologically-penetrating experience. While the June Fourth Crackdown remains a taboo in cultural representations in the PRC, Chinese filmmakers have responded to the psychological, ideological, and socio-economic impacts of the event in various creative ways.
Cinematic soundscape, in particular, constitutes powerful acts of remembering, recognizing, and critically reflecting the unspeakable and the invisible. These are films which utilise city narrative to comment on social—economic change, but largely observe such conditions, rather than to take apolitical stance. To explore the urban representation of the Sixth Generation, this article will provide analysis of three works that depict life in top-tier or second-tier mainland China cities: The manner in which urban space is represented will be considered, alongside the social positioning of the characters, in order to address arguments made by scholars that these films focus on the plight of the individual rather than considering the wider implications of urban planning.
Berra, John and Liu Yang. This article will focus on the burgeoning production of low-budget feature film comedies in Mainland China. A number of these productions have achieved considerable success at the local box office since The popularity of these swiftly-produced features is the result of rapid industrialization and the increasing emphasis on genre in the Mainland China market.
It also suggests a worrying trend in terms of the mass-production of films for local audiences; these films are manufactured in a rough manner with little regard for aesthetic quality or tonal consistency, leading to concerns about malformed genre product. This article outlines the definition, origins and variations of the low-budget comedies produced in China. Based on data gathered through several large-scale industry studies of the local audience, it will show that a relationship exists between the cultural mind-set of young cinemagoers and the styles of low-budget comedy films.
To chart the success of this genre, and its evolution from low-budget production to mid-budget production due to consistent box office returns, the article will examine two industrially significant examples: The former arguably started the genre, leading to a host of imitators, of which the latter has been particularly well-attended, despite evidencing a decline in quality as satirical humour is replaced by vulgarity.
Or, do Movies Make China?
Rpt in Rey Chow ed. The Shanghai International Film Festival. By considering a number of films produced in Mainland China since , this article seeks to illustrate a specific form of cinematic realism that can be interpreted within the framework of magic al realism.
Chinese Cinema in the Internet Age. The films do not offer a single vision of cyberspace, nor do they ascribe to the same filmic aesthetics or genre. Yet as a whole they provide a glimpse of China in the Internet age. They suggest that from a repository of collective memory, cyberspace has become the arena for an alternative existence free of the limitations of time and space. They trace the trajectory from a culture insistent on collective commemoration to a society willing to suspend its consciousness outside historical memory.
The Filmmaker as a Cultural Broker. Contemporary Chinese Films and Celebrity Directors. This new text examines recent popular Chinese films and derivative cultural phenomena, with a focus on films directed by celebrity directors such as Han Han, Guo Jingming, Xu Jinglei and Zhao Wei. In opposition to Fifth and Sixth Generation Chinese filmmakers who explored the grand-narratives of history, the oppression of the pre-socialist and socialist eras, and those marginalized by socio-economic changes, the celebrity directors at the heart of this book center on the new trends of living and emotional challenges faced by contemporary Chinese people, in particular the younger generations.
Considering present-day consumer capitalism through the lens of cinema, this text analyses in detail the significance of films chosen for their relevance, providing a reflection of social reality and cultural changes in 21st century China. Chen, Mo and Zhiwei Xiao. Critical Views from China. Alternative Film Culture in Contemporary China. Rowman and Littlefield, , Postpolitics in the Narrative of Chinese Film. Chinese Film in The Chinese University Press, Cohen, Herve and Renaud Cohen, dirs. First Run Icarus Films, Reading the Sixth Generation Films.
The Politics of Looking Good. But since the rise of the new China market and the centralization of Chinese blockbusters, the transnational currency may have been replaced by an intra-national, if not hyper-national tender. The essay addresses the tension and dialectics between marketization and protectionism of the national screen industry in China. A political-economic approach analyzes the rise of the China Film Group CFG and its attempt to re-nationalize and transnationalize Chinese cinema. CFG presents marketization as liberalization but this is part of a scheme to utilize the market to consolidate state power.
The cosmopolitan cultural behaviors employed by war films and teleplays in the reconstruction of national traumatic memories are worthy of understanding and respect. However, in present-day China, the quantity of Anti-Japanese War films and teleplays is abnormally high, and their values deeply enmeshed in a radical nationalism. Gallagher, Mark and Julian Stringer. Dolby Laboratories and Changing Industrial Practices. This article provides an analysis of the complex role Chinese film sound has played in these developments. Taking as its focus the work of Dolby Laboratories in China, the article investigates how and why complex international dynamics underpin both high-end commercial Chinese sound designs and the audio tracks of foreign films released in the country.
It therefore develops a critical perspective of workflows in Chinese screen industries where local and global investments merge. Devils on the Doorstep and Purple Sunset. It also suggests that in light of such social injustices and cinematic representation in the post-socialist China of today, under the guise of modernity and economic progress, there exists a dislocated and disconnected transition into adulthood for youth populations.
This article argues that Wang and Yi directly investigate one of the consequences of Chinese modernity: Hao, Xiaoming, and Y. Filming Tibet in the Twenty-First Century. Critical Analysis of Chinese Film and Television. In January , the internationally acclaimed Chinese actor, Zhang Ziyi, became a focus of public criticism for allegedly defaulting on a pledge to donate one million yuan to the Sichuan earthquake disaster-relief fund. That earthquake not only killed 70, people and left five million homeless, but also produced a dramatic rise in individual and corporate philanthropy in China.
Philanthropic donations in amounted to a total figure of billion yuan, exceeding the documented total for the preceding decade. New Films in China from Box Office Boom in Full Swing. Yang Yichen, with Lennet Daigle. Wagner, Tianqi Yu, and Luke Vulpiani, eds. Keyser, Anne Sytske and Han The. This article draws on recent research in the medical humanities to analyze two contemporary Chinese films: By portraying psychic and physical anguish in ways that refuse to divorce biology from culture, such films offer rare moral dialogues on biomedical issues and contribute a cross-cultural perspective invaluable to the task of responding to illness and suffering.
Hollywood Made in China. Hollywood moguls began courting Chinese investors to create entertainment on an international scale—from behemoth theme parks to blockbuster films. A window into the partnerships with Chinese corporations that now shape Hollywood, this book will captivate anyone who consumes commercial media in the twenty-first century. It examines the production and consumption of blockbuster films, television dramas, entertainment television shows, and their corresponding online audience responses, and describes the affective articulations generated by cultural and media texts, audiences and social contexts.
Crucially, this book focuses on the agency of audiences in consuming these media products, and the affective communications taking place in this process in order to address how and why popular culture and entertainment programs exert so much power over mass audiences in China. Indeed, Shuyu Kong shows how Chinese people have sought to make sense of the dramatic historical changes of the past three decades through their engagement with popular media, and how this process has created a cultural public sphere where social communication and public discourse can be launched and debated in aesthetic and emotional terms.
Crying your Heart Out: Magic Cube of Happiness: Are You the One? Let the Bullet Fly: Film Discussions and the Cultural Public Sphere]. Beijing Film Culture in Identity, Tradition and Globalism: Temple UP, , Beijing Trilogy and Global Urbanism in the s. A Look Back at the Last 20 Years. Representations of the Past in Contemporary Chinese Cinema.
Black and White in the Age of Color Cinema. Male Homosexuality in Chinese Cinema in the s. Jensen and Timothy B. The Stories beyond the Headlines. Children of Marx and Coca-Cola: Chinese Avant-garde Art and Independent Cinema. It juxtaposes and compares avant-garde artists and independent filmmakers from a number of intertwined perspectives, particularly in their shared avant-garde postures and perceptions. Liu, Petrus and Lisa Rofel, eds. Place Attachment and Its Ethical Claims. As the notion of social harmony becomes the defining discourse of Chinese policy in the 21st century, its repercussions can be found in the cinematic treatments of the ethnic other.
Those films reveal a strategy of othering in which recognition and alienation of oneself in the other is always in play. Rowman and Littlefield, , The dramatic growth in the multiplex is congruent with commercial real estate developments, urbanization and consumerism in China. The New Social Activism. Transnational Capitalism as Official Ideology?
Ouyang Jianghe and Cui Weiping, ed. From Underground to Independent: Marks, and Paul G. Lexington Books, , Censors, Scapegoats and Bargaining Chips. Strong Voices from the Margins. Hollywood and the Film Market in China from Heikkila and Rafael Pizarro, eds.
Greenwood Publishing Group, , The Logic of the Market. Cahiers du Cinema January Metacinema in Contemporary Chinese Film. Depictions within a movie of either filmmaking or film watching are hardly novel, but the dramatic expansion of the reach of the metacinematic into contemporary Chinese cinemas is nothing short of remarkable. Andrew Stuckey, the prevalence of metacinematic features forms the basis of a discourse on film arising from the films themselves. Such a discourse, in turn, outlines the boundaries of the possible for film in China as aesthetic or sociopolitical practice.
Metacinema also draws our attention to the presence of the audience, people actively responding to a film. In elucidating the affective responses elicited by the metacinematic mode in the viewers, Stuckey argues that metacinema reflects ways of being in the world that audiences may take up for themselves. The recurrence of the metacinematic across this broad range of works is indicative of its relevance to Chinese films today, and the analysis of these diverse examples allows us to gauge the cultural, social, and aesthetic implications of Chinese cinemas as a whole.
The Changing Landscape of Chinese Cinema. The Sent Down Girl. Sun, Shaoyi and Li Xun, eds. Bringing together textual analyses of narratives from five commercially exhibited films: Through group discussions in Beijing, Hangzhou, Nanjing, Lanzhou and Taiyuan, the author searches for audiences beyond major cities that are typically the focus of film consumption studies in China.
Reflections on a Chinese Blockbuster. Teo, Stephen [interviews with Li Yang]. This analysis of Wind Blast presents a type of genre filmmaking in Chinese cinema heavily indebted to Hollywood. The paper will set out to delineate the Western space ofWind Blastand to examine its signs of spatiality that connects it to the Hollywood Western, while also exploring how it is also disconnected from its source.
The Chinese Western possesses its own Western space that is located in the Western topographical regions of China. The paper will examine how this space is infused and affected by the Deleuzian concept of difference. The author proposes that lightness is a concept that can usefully be deployed to describe the moving image, beyond the specificity of recent new media developments and which can, in fact, help us rethink previous cinematic practices in broad terms both spatially and temporally.
Memory, Subjectivity and Independent Chinese Cinema. Edinburgh University Press, Showcasing an evolving personal mode of narrating memory, documenting reality, and inscribing subjectivity in over sixteen selected works that range from narrative film and documentary to experimental video and digital media even including a multimedia avant-garde play , this book presents a provocative portrait of the independent filmmakers as a peculiarly pained yet active group of historical subjects of the transitional, post-socialist era.
Through a connected investigation of cultural and cinematic concepts including historical consciousness, personal memory, narrative, performance, subjectivity, spatiality, and the body, Wang weaves a critical narrative of the formation of a unique post-socialist cultural consciousness that enables independent cinema and media to become a highly significant and effective conduit for historical thinking in contemporary China. Globalization and Its Chinese Discontents.
Analyzing this paradigm shift in independent cinema, this text explores the historicity of the cinematic form and its cultural-political visions. By showing the multi-valence of the postsocialist conditions in contemporary Chinese society, their films articulate a new cultural-political logic in postsocialist China, which is also the logic of the market in this era of neoliberal transformation, brought about by the forces of marketization since the late s.
The directors laudably show the spirits of humanism and the humanitarian concerns of the underclass, yet the shortage and repudiation of class analysis prohibits the artists from exploring the social contradictions and the cause of class restructuration. Macmillan Press, , Identity, Culture and Politics in Film. The Chinese Film Industry Since Xu, Ying and Xu Zhongquan. New Representations of Martyrs on the Chinese Screen. The Formation of Chinese Art Cinema: Through an exploration of the production and consecration mechanisms of the new art wave and its representative styles, this book argues that the art wave of the s fundamentally defined Chinese art cinema.
In particular, this vital art wave was not enabled by democratic liberalism, but by the specific industrial development, in which the film system was transitioning from Socialist propaganda into a commercialized entity in the s. Ultimately, The Formation of Chinese Art Cinema is a history of the Chinese portion of global art cinema, one which also reveals the complex Chinese cultural experiences in the Reform Era. The Politics of Images: Chinese Cinema in the Context of Globalization. University of Oregon, The Politics of Cultural Diaspora. Zhang, Jia-xuan and Pat Duffy.
Cinema, Space, and Polylocality in a Globalizing China. Questioning the national cinema paradigm, Zhang calls for comparative studies of underdeveloped areas beyond the imperative of transnationalism. The book begins by addressing theories and practices related to space, place, and polylocality in contemporary China before focusing on the space of scholarship and urging scholars to move beyond the current paradigm and explore transnational and comparative film studies. In the fifth chapter Zhang explores the space of subjectivity in independent film and video and contextualizes experiments by young directors with various documentary styles.
Chapter 6 calls attention to the space of performance and addresses issues of media and mediation by way of two kinds of playing: The concluding chapter offers an overview of Chinese cinema in the new century and provides production and reception statistics. Zhao On and Off the Screen: Male Desire and Its Discontents. Censorship and Double Standards in Mainland China. With its capacity to visually demonstrate the interconnectedness of human and other life forms, cinema is perfect for interrogating the set boundaries between humans and animals.
Festival Cines del Sur, , Zhu, Ying and Bruce Robinson. A Strategic Turn in Cultural Policy. Zhu, Ying and Stanley Rosen, eds. Art, Politics, and Commerce in Chinese Cinema. Art, politics and commerce are intertwined everywhere, but in China the interplay is explicit, intimate and elemental, and nowhere more so than in the film industry.
Understanding this interplay in the era of market reform and globalization is essential to understanding mainland Chinese cinema. This interdisciplinary book provides a comprehensive reappraisal of Chinese cinema, surveying the evolution of film production and consumption in mainland China as a product of shifting relations between art, politics, and commerce. Within these arenas, each of twelve chapters treats a particular history, development, genre, filmmaker or generation of filmmakers, adding up to a distinctively comprehensive rendering of Chinese cinema.
Postcoloniality and the Cinema of Chang Tso-chi. Markets, Languages, Cultures in Taiwan. Berry, Chris and Feii Lu, eds. Taiwan New Cinema and After. Contemporary Taiwanese Cinema and s French Auteurs. In contemporary Sino-French cinema, father characters who are dead, long lost or geographically distant leave gaping holes in the lives of the offspring left behind. French New Wave films constitute the majority of the intertexts; however, early s French cinema and even late nineteenth-century painting reflect the expansiveness of French influence.
Papa Can you Hear Me Sing? Braester, Yomi and Nicole Huang, geust editors. Chang, Hsiao-hung and Chih-hung Wang. Deterritorialization and Reterritorialization of the Family Park. A key figure in this complex cultural translation was the benshi, a translator who performed alongside the screen to interpret the film for the audience. International Reception and Social Change. The book examines recent developments in Taiwan cinema, with particular focus on a leading contemporary Taiwan filmmaker, Wei Te-sheng, who is responsible for such Asian blockbusters as Cape No.
Seediq Bale and Kano. The book discusses key issues, including: The book also explores the reasons why current Taiwan cinema is receiving a much less enthusiastic response globally compared to its reception in previous decades. Comedy and Small-Scale Family Drama. The Legacy of Taiwan New Cinema.
Taiwan and the Japanese Influence. Taiwan Cinema before New Cinema The introduction traces the history of Taiwan cinema before the New Cinema of the s. My goals are to bring to light the absent history of Taiwan cinema during the missing years, to the study of which this special issue collectively contributes. A Contested Nation on Screen.
A groundbreaking study of Taiwan cinema, this is the first English language book that covers its entire history. Hong revises how Taiwan cinema is taught and studied by taking into account not only the auteurs of New Taiwan Cinema, but also the history of popular genre films before the s. This work will be essential reading for students and scholars of Taiwan and Chinese-language cinemas and of great value to those interested in the larger context of East Asian cultural history as well as film and visual studies in general.
Instead of attempting to provide a survey of Taiwan documentary, this article focuses on a few critical moments in its long and uneven history and proposes a potentially productive site for understanding its formal manifestations of representational politics. By honing in on the uses of sounds and words, I show that the principle of a unitary voice—voice understood both as the utterances of sound and the politico-cultural meaning of such utterances—organizes the earlier periods of the colonial and authoritarian rules and shapes later iterations of and formal reactions to them.
Be it voice-over narration or captions and inter-titles, this article provides a historiographical lens through which the politics of representation in Taiwan documentary may be rethought. Furthermore, this article takes documentary not merely as a genre of non-fiction filmmaking. Rather, it insists on documentary as a mode, and indeed modes, of representation that do not belong exclusively to the non-fiction.
I ascribe the success of Healthy Realism less to its privileged origins within the state-run studio or propagandistic authority, but more to the semiotic work of its stars as key vectors in the transmission of film ideology. As long as the on- and off-screen images of its stars cohered, the genre could maintain its claims to realism. Testing a Formula for Mainstream Cinema in Taiwan. Huang, Yu-shan and Chun-chi Wang. Robin Visser and Thomas Moran. In Lingzhen Wang, ed. Taiwanese Cinema Between Utopia and Heterotopia. History and the Subject in A Borrowed Life. The February 28 Incident as Spectacle.
Small Nation with Soft Power. Representing Atrocity in Taiwan: In , Taiwan was placed under the administrative control of the Republic of China, and after two years, accusations of corruption and a failing economy sparked a local protest that was brutally quashed by the Kuomintang government. She assesses the role of individual and collective memory and institutionalized forgetting, while underscoring the dangers of re-creating a historical past and the risks of trivialization.
Documenting Taiwan on Film: Issues and Methods in New Documentaries. To date, there is but a handful of articles on documentary films from Taiwan. This volume seeks to remedy the paucity in this area of research and conduct a systematic analysis of the genre. Each contributor to the volume investigates the various aspects of documentary by focusing on one or two specific films that document social, political and cultural changes in recent Taiwanese history.
Since the lifting of martial law, documentary has witnessed a revival in Taiwan, with increasing numbers of young, independent filmmakers covering a wide range of subject matter, in contrast to fiction films, which have been in steady decline in their appeal to local, Taiwanese viewers. These documentaries capture images of Taiwan in its transformation from an agricultural island to a capitalist economy in the global market, as well as from an authoritarian system to democracy.
What make these documentaries a unique subject of academic inquiry lies not only in their exploration of local Taiwanese issues but, more importantly, in the contribution they make to the field of non-fiction film studies. As the former third-world countries and Soviet bloc begin to re-examine their past and document social changes on film, the case of Taiwan will undoubtedly become a valuable source of comparison and inspiration.
These Taiwanese documentaries introduce a new, Asian perspective to the wealth of Anglo-American scholarship with the potential to serve as exemplar for countries undergoing similar political and social transformations. Revisiting Qiong Yao Films in the s. Qiong Yao films of the s are thought to provide nothing but escapist romantic fantasies.
Taiwan is in danger of becoming the last isle, losing its sovereignty and identity.
This approach intertwines the helix of reason and affect, scholarship and emotion. The Last Isle accomplishes a look at globalization from the bottom up, from a global Taiwan whose very existence is in doubt. University of Hong Kong Press, The Far-flung Adventures of a Taiwanese Tomboy. Film Production and Consumption in Contemporary Taiwan: Cinema as a Sensory Circuit. Amsterdam University Press, Interweaving in-depth interviews with filmmakers, producers, marketers, and spectators, Ya-Fong Mon takes a biopolitical approach to the question, showing how the industry uses investments in techno-science, ancillary marketing, and media convergence to seduce and control the sensory experience of the audience-yet that control only extends so far: New Films from Taiwan.
American Film Institute, Nornes, Mark Abe and Yueh-yu Yeh. Writers and filmmakers in Taiwan have sought to use the narrative techniques of classic detective fiction to recover events of the Nationalist government-imposed White Terror of the early s to bring the once-concealed past to light. This preliminary consideration of genre and memory explores the appearance of colonial Taiwan in the work of Japanese and Taiwan filmmakers. Visuality and identification in cinema, the pragmatic and affective dimensions of memory, and the colonial and postcolonial viewing subject are discussed.
Also noted in this essay are the apparatuses of recording and reproducing music and the human voice, ideologies, and time in Taiwan during the twentieth century. The examination of postcolonial and colonial documentaries and postcolonial fiction films suggests that colonial filmmakers often demonstrate a utopian outlook, while postcolonial cinema tends to adopt a dystopian, retrospective gaze. These examinations, in turn, comprise a reflection, on multiple levels, of diegetic register and on the uniquely Taiwanese visual and aural aspects of these multi-lingual films.
In summary, this article is an attempt to highlight the powerful and sometimes subversive uses of film in the propagation and circulation of a postcolonial Taiwanese identity which transcends national boundaries, and the polarizing, moribund research that they engender, so that scholars might better understand the postcolonial condition. This article looks at the re-emergence of a cinema of attraction in the last years of taiyupian , a Hoklo topolect cinema created in Taiwan.
This article makes use of newspaper articles, advertisements, and the numbers, but focuses on questions of style. The film Zhang Di Seeks A-Zu, featuring pop singer Zhang Di and opera star Yang Lihua, well articulates the comedic and camp aesthetics of this period, as well as the renewed importance of opera culture across different media. These aesthetics gesture towards a particular audience and viewing culture, while offering alternative values to classical realist cinema.
Comedy as Dialectical Tension in mid-century Chinese Cinemas. When the two fools genre was adapted in Taiwan, an additional social allegory of mainlander and islander solidarity came to the fore: Their unshakeable solidarity and many shared feasts suggest a utopian dimension to the comedy duo, in which homosocial friendship transcends all differences. How do contemporary indigenous filmmakers regard primitivism? Mebow seems ambivalent about Sayun: Tan, See-Kam and Annette Aw. Almost a Heterosexual Love Story. Taipei and the Gobalization of the City Film. A Movement of Unintended Consequences.
This implies that the New Cinema movement was ultimately the result of a carefully orchestrated policy on the part of the Taiwan authority. In truth, however, the New Cinema was more accidental than planned. The initial factors behind the movement were more domestic in orientation than foreign; the movement represented a makeshift attempt to save a domestic film industry that was slowly dying.
The multiple awards received by Taiwanese filmmakers were thus unexpected benefits, which the authority and others were slow to recognize. To this day, many of the controversies first raised about the New Cinema remain core issues for Taiwan cinema. Comedy is arguably the most local of genres. This is due to the irresistible pull of recent opportunities posed by the astronomical growth of the mainland Chinese market. History, discovery, transculturation, boundary crossing, transnationalism, creolization. Guojia dianying zhongxin, Taiwanese Cinema from the 80s to the 90s.
More specifically, Home Sweet Home provides an insight into the official position that the Chinese Nationalist Party Guomindang, KMT held with regard to Taiwanese students who studied abroad in the late s and early s. My goal is to offer a preliminary inquiry into how the structural components of the film work in both conjunction and disjunction with the ideology of the Taiwanese state government in The State of Taiwan Film in the s and s. New Taiwanese Cinema in Focus: Moving Within and Beyond the Frame.
However, since the democratization of the political landscape in Taiwan, Taiwanese cinema has become internationally fluid. As the case studies in this book demonstrate, filmmakers such as Hou Hsiao-hsien, Edward Yang, Tsai Ming-liang, and Ang Lee each engage with international audience expectations.
Wilson argues that the cinema of Taiwan since the s should be read emblematically; that is, as a representation of the greater paradox that exists in national and transnational cinema studies. Eat, Drink, Everyman, Everywoman. Guojia dianying ziliaoguan, Stylistic Renovations of Chinese Mandarin Classics. Yeh, Emily Yueh-yu and Darrell Davis. Fiction, Cinema, and the Nation in the Cultural Imaginary. Fiction Cinema and the Nation in the Cultural Imaginary. Cultural Hybridization, Heterotopias, and Postmodernity. Aitken, Ian and Michael Ingham.
Hong Kong Documentary Film. Does Hong Kong have a significant tradition in documentary filmmaking? Until recently, many film scholars believed not. Yet, when Ian Aitken and Michael Ingham challenged this assumption, they discovered a rich cinematic tradition, dating back to the s. Under-researched and often forgotten, documentary film-making in Hong Kong includes a thriving independent documentary film movement, a large archive of documentaries made by the colonial film units, and a number of classic British Official Films.
With a particular focus on how these films address the historico-political dimension of their time, Hong Kong Documentary Film introduces students and scholars in Film Studies to this fascinating and largely unexplored cinematic tradition. The Shaw Brothers and Diasporic Cinema. University of Illinois Press, , Coproduction, Coherence, and Cult Film Criteria. Popular Cinema and the Art of Entertainment.
Kungfu , Gunplay, and Cinematic Expression. Hong Kong Cinema in a Borderless World. Chan, Joseph M, Anthony Y. Fung, and Chun Hung Ng. Chan, Natalia Sui Hung.
Through an extensive allegorical reading of films, this paper attempts to capture a certain cultural form of imagination in Hong Kong during the transitional period leading up to the historical handover of power in Dwelling on the world of signification conjured up through what I call the jianghu filmic imaginary,the analysis focuses on the ideological and utopian impulses registered in relation to a whole emotional complex of anxiety, bewilderment and despair in the works of some highly creative local filmmakers of the genre: It was a time when the city was a site of intense ideological struggles among the colonial government, Chinese Nationalists, and Communist sympathizers.
The medium of film was recognized as a powerful tool for public persuasion and various camps competed to win over the hearts and minds of the audience. Screening Communities thus situates the history of postwar Hong Kong cinema at the intersection of Cold War politics, Chinese culture, and local society. The Hong Kong Filmography, In Poshek Fu, ed. Essays in Film and the Humanities. Special issue on HK Cinema. Hong Kong New Wave Cinema Tong relates the movement to a wider historical context of the developing society and culture of Hong Kong at that time. Between Home and World: A Reader in Hong Kong Cinema.
The Hong Kong Wuxia Movie: Identity and Politics, Lambert Academic Publishing, In examining the production and reception of the wuxia movie in Hong Kong during the s and s, this book argues that the popularity of the genre was more than just entertainment value. Far from a novelty, the wuxia pian was a modernized visual medium with themes and characters that were already familiar to people who read and watched plays, operas, and wuxia novels. Moreover, wuxia filmmakers were not mere imitators of the latest cinematic advances from Hollywood, but instead were innovators interested in recreating the splendor of the past through cinema, drawing inspiration from traditional stories, music, and fighting techniques while experimenting with western film technology and theory.
Through the looking glass of popular culture, this book explores what defined Chineseness in one of the most chaotic and fractious periods of Chinese history. Chow, Yiu-fai and Jeroen de Kloet. Rooftops in Hong Kong Cinema.
Last, she explores Chan's "comic displacement" of both his own identity and national identity in many of his films. Korean War Films in Chinese Cinema. Black and White in the Age of Color Cinema. Envisioning the Nation in Early Chinese Cinema. Yeh, Emily Yueh-yu and Darrell Davis. Meek, Scott and Tony Rayns. The Film Industry in Communist China.
Hong Kong Cinema and National Cinema: Coloniser, Motherland and Self. Beyond Mainland-Hong Kong Co-productions. John Woo, Hong Kong, Hollywood. The Shaw Borthers and Diasporic Cinema. Comedy and Kung Fu from Hong Kong. Dannen, Fredric and Barry Long. The Social Mobility of Chow Yun-fat, The E-mail Address es field is required.
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Would you also like to submit a review for this item? You already recently rated this item. Your rating has been recorded. Write a review Rate this item: Preview this item Preview this item. The martial arts cinema of the Chinese diaspora: English View all editions and formats Summary: In The Martial Arts Cinema of the Chinese Diaspora, Kin-Yan Szeto critically examines three of the most internationally famous martial arts film artists to arise out of the Chinese diaspora and travel far from their homelands to find commercial success in the world at large: Positing the idea that these filmmakers' success is evidence of a ""cosmopolitical awareness"" arising from their cross-cultural ideological engagements and geopolitical displacements, Szeto demonstrates how this unique perspective allows these three filmmakers to develop and.
Allow this favorite library to be seen by others Keep this favorite library private. Find a copy in the library Finding libraries that hold this item Electronic books Criticism, interpretation, etc Additional Physical Format: Szeto, Kin-Yan, Martial arts cinema of the Chinese diaspora.