Jumpcut 49 on Chinese Language Cinemas
Hi --
This community's been quiet lately, but I just wanted to give everyone a head's up on the latest issue of Jump Cut (no. 49, spring 2007), which is largely about Chinese language cinemas. It's available online at http://www.ejumpcut.org/currentissue/index.html
Introduction
by Chuck Kleinhans
Trajectories of identification: travel and global culture in the films of Wong Kar-wai
by Allan Cameron
A number of Wong Kar-wai's films reveal complex and entwined preoccupations with travel and cultural translation, and pursue a developing exploration of regional identification.
The politics of historiography in Stephen Chow’s Kung Fu Hustle
by Kin-Yan Szeto
If we look at Kung Fu Hustle from a transnational perspective, we can see how the film relates to and is shaped by the history of post-1997 Hong Kong.
Hero: China’s response to Hollywood globalization
by Jenny Kwok Wah Lau
Hero answers the question: How can a film be both a blockbuster and Chinese (not simply having a Chinese story but more importantly based on Chinese aesthetics and values)?
Searching for Taiwanese identity: reading June Yip’s Envisioning Taiwan
by Li Zeng
Review of June Yip, Envisioning Taiwan: Fiction, Cinema, and the Nation in the Cultural Imaginary (Durham NC and London: Duke University Press, 2004).
Huangmei opera films, Shaw Brothers and Ling Bo: chaste love-stories, genderless cross-dressers and sexless gender-plays?
by Tan See-Kam
Shaw Brothers Huangmei opera films often starred actress Ling Bo in cross-dressing roles; the films cater to a constellation of gazes, from the heterosexist to the queer.
Modernity, diasporic capital, and 1950s Hong Kong Mandarin cinema
by Poshek Fu
A study of Hong Kong Mandarin cinema of the 1950s in the changing context of modernity, diasporic capital, and Cold War politics.
Romantic comedies of Cathay-MP&GI in the 1950s and 60s: language, locality, and urban character
by Kenny K. K. Ng
The Hong Kong Cathay-MP&G Studio films of the 50s and 60s base their plots on clashes of regional dialects and cultures in a genre inspired by Hollywood romantic comedies that imaginatively figures Chinese modernity and urbanity.
Dialect and modernity in 21st century Sinophone cinema
by Sheldon Lu
Lu explores the politics of language and dialects in the construction of national identity in Chinese cinemas.
Dialogues with critics on Chinese independent cinemas
by Esther M.K. Cheung
These critics discuss the different patterns, functions, and critical roles that independent filmmaking has in the PRC and Hong Kong, and the impact of independents in a rapidly globalized world.
The Hong Kong local on film: re-imagining the global
by Wendy Gan
In two Hong Kong films, Comrades: Almost a Love Story and One Nite in Mongkok, stories of local difference emerge and reshape dominant narratives of globalization.
The class imaginary in Fruit Chan's films
by Wimal Dissanayake
The films of Fruit Chan draw our attention the class predicament of Hong Kong's urban proletariat by using imaginative narratives and a wide range of visually expressive styles.
Serving the people - Dumplings
by Chuck Kleinhans
In Dumplings director Fruit Chan presents a disturbing social satire using creepy taboo topics of cannibalism and abortion to pump up the shock and underline ethical issues of capitalist culture.
Hollywood’s crusade in China prior to China’s WTO accession
by Ting Wang
Hollywood-China interplay before China's WTO accession looked at through the prism of history, bilateral diplomacy, trade relations, and national cultural identity.
This community's been quiet lately, but I just wanted to give everyone a head's up on the latest issue of Jump Cut (no. 49, spring 2007), which is largely about Chinese language cinemas. It's available online at http://www.ejumpcut.org/currentissue/index.html
Introduction
by Chuck Kleinhans
Trajectories of identification: travel and global culture in the films of Wong Kar-wai
by Allan Cameron
A number of Wong Kar-wai's films reveal complex and entwined preoccupations with travel and cultural translation, and pursue a developing exploration of regional identification.
The politics of historiography in Stephen Chow’s Kung Fu Hustle
by Kin-Yan Szeto
If we look at Kung Fu Hustle from a transnational perspective, we can see how the film relates to and is shaped by the history of post-1997 Hong Kong.
Hero: China’s response to Hollywood globalization
by Jenny Kwok Wah Lau
Hero answers the question: How can a film be both a blockbuster and Chinese (not simply having a Chinese story but more importantly based on Chinese aesthetics and values)?
Searching for Taiwanese identity: reading June Yip’s Envisioning Taiwan
by Li Zeng
Review of June Yip, Envisioning Taiwan: Fiction, Cinema, and the Nation in the Cultural Imaginary (Durham NC and London: Duke University Press, 2004).
Huangmei opera films, Shaw Brothers and Ling Bo: chaste love-stories, genderless cross-dressers and sexless gender-plays?
by Tan See-Kam
Shaw Brothers Huangmei opera films often starred actress Ling Bo in cross-dressing roles; the films cater to a constellation of gazes, from the heterosexist to the queer.
Modernity, diasporic capital, and 1950s Hong Kong Mandarin cinema
by Poshek Fu
A study of Hong Kong Mandarin cinema of the 1950s in the changing context of modernity, diasporic capital, and Cold War politics.
Romantic comedies of Cathay-MP&GI in the 1950s and 60s: language, locality, and urban character
by Kenny K. K. Ng
The Hong Kong Cathay-MP&G Studio films of the 50s and 60s base their plots on clashes of regional dialects and cultures in a genre inspired by Hollywood romantic comedies that imaginatively figures Chinese modernity and urbanity.
Dialect and modernity in 21st century Sinophone cinema
by Sheldon Lu
Lu explores the politics of language and dialects in the construction of national identity in Chinese cinemas.
Dialogues with critics on Chinese independent cinemas
by Esther M.K. Cheung
These critics discuss the different patterns, functions, and critical roles that independent filmmaking has in the PRC and Hong Kong, and the impact of independents in a rapidly globalized world.
The Hong Kong local on film: re-imagining the global
by Wendy Gan
In two Hong Kong films, Comrades: Almost a Love Story and One Nite in Mongkok, stories of local difference emerge and reshape dominant narratives of globalization.
The class imaginary in Fruit Chan's films
by Wimal Dissanayake
The films of Fruit Chan draw our attention the class predicament of Hong Kong's urban proletariat by using imaginative narratives and a wide range of visually expressive styles.
Serving the people - Dumplings
by Chuck Kleinhans
In Dumplings director Fruit Chan presents a disturbing social satire using creepy taboo topics of cannibalism and abortion to pump up the shock and underline ethical issues of capitalist culture.
Hollywood’s crusade in China prior to China’s WTO accession
by Ting Wang
Hollywood-China interplay before China's WTO accession looked at through the prism of history, bilateral diplomacy, trade relations, and national cultural identity.