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Journal of Chinese Film Studies最新文献

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Queering Bodies: “Becoming-unrecognisable” in Wong Kar-Wai’s Happy Together 酷儿身体:王家卫《春光乍乍到》中的“变得面目全非”
Journal of Chinese Film Studies Pub Date : 2021-09-23 DOI: 10.1515/jcfs-2021-0020
Jiaying Sim
{"title":"Queering Bodies: “Becoming-unrecognisable” in Wong Kar-Wai’s Happy Together","authors":"Jiaying Sim","doi":"10.1515/jcfs-2021-0020","DOIUrl":"https://doi.org/10.1515/jcfs-2021-0020","url":null,"abstract":"Abstract This paper is interested in the cinematic apparatus’s potential to produce affect which defamiliarises the visible presence of star-bodies in Wong Kar-wai’s Happy Together (chunguang zhaxie, 1997), thus invoking non-normative and new modes of thinking about queer identification and representation. By close reading the mise-en-scène of the two Iguazu falls sequences, the on-screen star bodies of Tony Leung and Leslie Cheung are defamiliarized when they produce Gilles Deleuze’s affect and “become-unrecognisable” as on-screen subjects. Through this, the encounters with the Iguazu Falls allow us to queer heteronormative and linear narrative time that is associated with (a movement towards) futurity. This inability to pass judgement, I argue, is the ethics of sexual desire which Happy Together proffers when we understand the body that queers and becomes unrecognisable through productive affective assemblages. Instead, we move through the transsensorial potentials for the cinematic assemblage to rethink modes of queering normativity and to redefine bodies in terms of plurality and multiplicity. To that end, this paper presents a new way of thinking about how film stars, familiar tourist spots and even a classic text like Happy Together may be defamiliarized through productions of affects, new-sensations, to provide more ways of revisiting and regarding the film anew.","PeriodicalId":342453,"journal":{"name":"Journal of Chinese Film Studies","volume":"54 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126201773","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
At Home in the World: Wandering Earth, Environmentalism, and Reimagined Homelands 《在世界上的家:流浪地球、环保主义和重新想象的家园》
Journal of Chinese Film Studies Pub Date : 2021-09-08 DOI: 10.1515/jcfs-2021-0017
C. Rojas
{"title":"At Home in the World: Wandering Earth, Environmentalism, and Reimagined Homelands","authors":"C. Rojas","doi":"10.1515/jcfs-2021-0017","DOIUrl":"https://doi.org/10.1515/jcfs-2021-0017","url":null,"abstract":"Abstract Based on a 2000 novella by Cixin Liu with the same title, Frant Gwo’s 2019 film Wandering Earth has been celebrated as China’s first big-budget science fiction film. As a Chinese film with a global theme that simultaneously targets both a domestic and an international audience, accordingly, the work invites a reflection on the relationship between the local and the global—on how we understand the concept of home, and what it might mean to be home in the world. This essay, accordingly, examines three intersecting ways in which Wandering Earth (both the film and the original novella) explores the relationship between home and the world, including the status of the Earth as an ecological system, the planet’s status as a lived environment, as well as a set of contemporary geopolitical discourses about China’s shifting position within the contemporary world order, and particularly its relationship to the Global South.","PeriodicalId":342453,"journal":{"name":"Journal of Chinese Film Studies","volume":"146 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127957223","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Shi-nematic afterimages: semiocapitalism and Chinese cine-cities 释向列后像:半资本主义与中国电影城市
Journal of Chinese Film Studies Pub Date : 2021-09-08 DOI: 10.1515/jcfs-2021-0015
D. Fleming, S. Harrison
{"title":"Shi-nematic afterimages: semiocapitalism and Chinese cine-cities","authors":"D. Fleming, S. Harrison","doi":"10.1515/jcfs-2021-0015","DOIUrl":"https://doi.org/10.1515/jcfs-2021-0015","url":null,"abstract":"Abstract In this essay, we revisit our interdisciplinary approach to the “becoming-cinema” of Chinese life and cities in the contemporary era, while critically revisiting our notion of “shi-nema” (which combines the Chinese concept of “shi” (势) with a detoured notion of “cinematicity”) which we forward as a provocative “image for thought” that explodes the concerns of modern film studies. Revisiting our multi-scalar fractal method, on this outing we specifically engage with a nexus of new semiocapitalist images and urban sites/sights that foreground how rapidly the psychogeographic circumstances in post-socialist Chinese cine-cities evolve and mutate. Our essay opens with a fresh film-philosophy conceptualisation of “afterimages”, blending cinematic, city and conceptual varieties before moving on to critically engage with a new constellation of interviews and images drawn from Chinese film, television, streaming platforms, social media and commercial real estate apps.","PeriodicalId":342453,"journal":{"name":"Journal of Chinese Film Studies","volume":"38 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-09-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115075634","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Realism and Fantasy in Jia Zhangke’s The World 贾樟柯《世界》中的现实主义与幻想
Journal of Chinese Film Studies Pub Date : 2021-03-12 DOI: 10.1515/jcfs-2021-0008
Hsiu-Chuang Deppman
{"title":"Realism and Fantasy in Jia Zhangke’s The World","authors":"Hsiu-Chuang Deppman","doi":"10.1515/jcfs-2021-0008","DOIUrl":"https://doi.org/10.1515/jcfs-2021-0008","url":null,"abstract":"Abstract One of the most prominent sixth-generation filmmakers, Jia Zhangke tells compelling stories about China’s floating population. He documents the quotidian activities of marginal people with long shots and long takes, showing their love, despair, and regrets. Scholars often consider Jia a neorealist or postsocialist realist, but close analyses of his works reveal his penchant for adding fantastical images to true-to-life stories. In his first officially released film, The World (2004), for example, Jia pairs long takes with animation and medium shots to capture the “surreal, unsettling effects” of a rapidly changing society. This generic mixture, I argue, allows the director to expose the psychologies of isolated migrant workers inhabiting multiple realities in a complex world. Jia’s willingness to investigate new ways of envisioning thoughts and emotions illustrates the corrosive effect of greed in postsocialist society and helps expand film’s formalistic commitments to the ethics of representing the real.","PeriodicalId":342453,"journal":{"name":"Journal of Chinese Film Studies","volume":"34 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"129577695","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Subtitling Calligraphy 字幕书法
Journal of Chinese Film Studies Pub Date : 2021-03-12 DOI: 10.1515/jcfs-2021-0004
Markus Nornes
{"title":"Subtitling Calligraphy","authors":"Markus Nornes","doi":"10.1515/jcfs-2021-0004","DOIUrl":"https://doi.org/10.1515/jcfs-2021-0004","url":null,"abstract":"Abstract This essay examines a regional, not global, dimension of Chinese cinema: the Chinese character in its brushed form. Calligraphy and cinema have an intimate relationship in East Asia. Indeed, the ubiquity of the brushed word in cinema is one element that actually ties works in Korean, Japanese and Sinophone Asia together as a regional cinema. At the same time, I will explore the very specific difference of Chinese filmmakers’ use of written language. On first glance, cinema and calligraphy would appear as radically different art forms. On second glance, they present themselves as sister arts. Both are art forms built from records of the human body moving in (an absent) time and space. The essay ends with a consideration of subtitling, upon which Chinese cinema’s global dimension is predicated. How does investigating this very problem lead us to rethinking the nature of the cinematic subtitle, which is very much alive―a truly movable type?","PeriodicalId":342453,"journal":{"name":"Journal of Chinese Film Studies","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126071861","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
Cultural Outreach: Cinema and Soft Power 文化拓展:电影与软实力
Journal of Chinese Film Studies Pub Date : 2021-03-12 DOI: 10.1515/jcfs-2021-0012
G. Rawnsley
{"title":"Cultural Outreach: Cinema and Soft Power","authors":"G. Rawnsley","doi":"10.1515/jcfs-2021-0012","DOIUrl":"https://doi.org/10.1515/jcfs-2021-0012","url":null,"abstract":"Abstract This paper introduces soft power as a political construct and thus questions its relevance to cinema. Rather than seeing movies as representatives of soft power in and of themselves, cinema is an instrument whereby soft power is projected – a tool rather than a resource. The paper argues that cinema is an example of “soft power by accident”, meaning that it is best understood as a natural by-product of a cultural creative process for non-political purposes. However, when we analyse Chinese cinema, the boundaries between political and non-political break down, revealing some of the problems and limitations in both Chinese soft power and cultural outreach.","PeriodicalId":342453,"journal":{"name":"Journal of Chinese Film Studies","volume":"36 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122027692","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
The Historical Roots and Cultural Core of the Chinese Film School 中国电影学派的历史根源与文化内核
Journal of Chinese Film Studies Pub Date : 2021-03-12 DOI: 10.1515/jcfs-2021-2010
Haizhou Wang
{"title":"The Historical Roots and Cultural Core of the Chinese Film School","authors":"Haizhou Wang","doi":"10.1515/jcfs-2021-2010","DOIUrl":"https://doi.org/10.1515/jcfs-2021-2010","url":null,"abstract":"Abstract Chinese cinema has its own unique features, created through nationally distinct methods. Once revealed, these methods make possible the construction of a unique “Chinese film school.” This article explores the historical development of Chinese film arts in order to uncover general trends along its winding path. While being open to the world, the Chinese film school ultimately returns to traditions in Chinese art as a method to construct a unique theory of Chinese film. This methodology has enabled Chinese films to reflect wider developments in world cinema, while also maintaining distinctive Chinese cultural characteristics.","PeriodicalId":342453,"journal":{"name":"Journal of Chinese Film Studies","volume":"41 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"132371722","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
Special Effects and Spectacle: Integration of CGI in Contemporary Chinese Film 特效与奇观:CGI在当代中国电影中的融合
Journal of Chinese Film Studies Pub Date : 2021-03-12 DOI: 10.1515/jcfs-2021-0005
Andrew Stuckey
{"title":"Special Effects and Spectacle: Integration of CGI in Contemporary Chinese Film","authors":"Andrew Stuckey","doi":"10.1515/jcfs-2021-0005","DOIUrl":"https://doi.org/10.1515/jcfs-2021-0005","url":null,"abstract":"Abstract Film production in China, like that in Hollywood, increasingly attempts to achieve blockbuster status, through reliance on large budgets which enable the cultivation of star systems and world-class production values. More and more we see a reliance on computer-generated special effects to drive audience appeal and, thus, ticket sales. This article compares two recent films from Chinese auteurs, Zhang Yimou’s The Great Wall and Jia Zhangke’s Mountains May Depart, to examine the degree to which integration of computer-generated effects is achieved and how that translates into film art.","PeriodicalId":342453,"journal":{"name":"Journal of Chinese Film Studies","volume":"6 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126641583","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 3
Chinese Film Studies Online: Technological Innovations, Pedagogical Challenges, and Teaching Chinese-Language Cinema in the Digital Age 中国电影在线研究:数字时代的技术创新、教学挑战与中文电影教学
Journal of Chinese Film Studies Pub Date : 2021-03-12 DOI: 10.1515/jcfs-2021-0007
G. Marchetti
{"title":"Chinese Film Studies Online: Technological Innovations, Pedagogical Challenges, and Teaching Chinese-Language Cinema in the Digital Age","authors":"G. Marchetti","doi":"10.1515/jcfs-2021-0007","DOIUrl":"https://doi.org/10.1515/jcfs-2021-0007","url":null,"abstract":"Abstract Because of the impact of the COVID-19 pandemic on higher education, online initiatives have moved from the periphery to the very heart of teaching and learning across disciplines. However, the profession has just begun to consider the full impact these new technologies have on the way we research and teach Chinese-language cinema. Using the Massive Open Online Course (MOOC) and University of Hong Kong Common Core campus-based course, Hong Kong Cinema through a Global Lens, as my principal case study, I explore some of the ways in which the digital revolution has transformed research on and teaching about Hong Kong film. From surveying the types of material available for research to exploring the differences between MOOCs and flipped classrooms, this essay considers the positive implications and potential drawbacks of these new technologies in global, regional, and local educational contexts.","PeriodicalId":342453,"journal":{"name":"Journal of Chinese Film Studies","volume":"9 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134179260","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 1
New York: Gateway to the East 纽约:通往东方的门户
Journal of Chinese Film Studies Pub Date : 2021-03-12 DOI: 10.1515/jcfs-2021-0003
David Desser
{"title":"New York: Gateway to the East","authors":"David Desser","doi":"10.1515/jcfs-2021-0003","DOIUrl":"https://doi.org/10.1515/jcfs-2021-0003","url":null,"abstract":"Abstract After a number of aborted attempts to secure distribution and exhibition in the West in the 1950s and 60s, producers of the Chinese cinema came to understand that film festival prizes, which had been the Japanese model, were not going to work for them. Instead, early attempts were made to break into the US market via an exhibition in New York. The commercial distribution of Hong Kong’s commercially-oriented martial arts movies in the 1970’s satisfied the long-standing desire of producer Run Run Shaw for success in the West, but hardly provided a similar opportunity for the more specialized auteur-cinema of the Mainland and Taiwan in the 1980s. Instead, the New York Film Festival emerged as the premier showcase for Fifth Generation Chinese filmmakers and the New Cinema of Taiwan, along with the Art cinema of Hong Kong’s Wong Kar-wai.","PeriodicalId":342453,"journal":{"name":"Journal of Chinese Film Studies","volume":"201 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-03-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"123025594","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
引用次数: 0
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