Asian Cinema最新文献

The politics of the participatory in Indonesian environmental documentary: The oeuvre of Dandhy Laksono 印度尼西亚环境纪录片中的参与政治：Dandhy Laksono 的作品

IF 0.3

Asian Cinema Pub Date : 2024-07-29 DOI: 10.1386/ac_00074_1

Edwin Jurriëns

{"title":"The politics of the participatory in Indonesian environmental documentary: The oeuvre of Dandhy Laksono","authors":"Edwin Jurriëns","doi":"10.1386/ac_00074_1","DOIUrl":"https://doi.org/10.1386/ac_00074_1","url":null,"abstract":"Indonesian documentary filmmaking has been riding the global wave of unprecedented interest in the creation, distribution and viewing of environmental documentaries. One of the frontrunners is investigative journalist and filmmaker Dandhy Laksono (b. 1976). With his production house, Watchdoc, and other collaborators since the late 2000s, he has created an extraordinary quantity of thought-provoking environmental and sociopolitical documentaries, many of which have received millions of views. In addition to public screenings in hundreds of Indonesian villages, the popularity of these documentaries has been driven by their streaming on online platforms, particularly YouTube. I argue that Laksono’s work is not merely about nature but about the politics of the environment. The film director not only criticizes political and social structures and practices with a destructive impact on the natural environment but also presents alternative, more sustainable visions for our planet based on Gunter Pauli’s model of the Blue Economy. His documentaries address these environmental politics and alternative visions not only through their content but also through their participatory modes of representation and distribution. This article discusses the politics of the participatory by focusing on the aesthetic modes of address for inviting audience involvement; the promotion of the commons as a cause or ideal in communication and social and environmental affairs; the representation and expression of diverse social, cultural and political voices, including those of marginalized groups; the use of public screenings and interactive media for the sharing and creating of content, and the social debates, connections and actions established through these communicative processes.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.3,"publicationDate":"2024-07-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141796662","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

Locating Taiwan Cinema in the Twenty-First Century, Paul G. Pickowicz and Yingjing Zhang (eds) (2020) 二十一世纪台湾电影的定位》，保罗-G-皮克维茨和张英京（主编）（2020 年）

IF 0.3

Asian Cinema Pub Date : 2024-07-25 DOI: 10.1386/ac_00078_5

Yixin Xu

引用次数: 0

Moving between worlds: Performance, the scene of empathy and flexible identity in Infernal Affairs 在世界之间穿梭：《无间道》中的表演、移情场景和灵活身份

Asian Cinema Pub Date : 2023-10-01 DOI: 10.1386/ac_00068_1

Sebastian Byrne

{"title":"Moving between worlds: Performance, the scene of empathy and flexible identity in Infernal Affairs","authors":"Sebastian Byrne","doi":"10.1386/ac_00068_1","DOIUrl":"https://doi.org/10.1386/ac_00068_1","url":null,"abstract":"This article explores the bodily and psychological dimensions of Tony Leung Chiu-wai’s performance in Andrew Lau and Alan Mak’s urban noir thriller, Infernal Affairs (2002), as a way of trying to comprehend the actor’s flexible, transnational stardom. Through a textual analysis of a pivotal scene from the film, the article argues that Leung’s facial acting facilitates an embodied and empathetic connection between the actor and the spectator, effectuated through cinematic techniques such as close-ups, editing and music. An embodied understanding of Leung’s facial work in the close-up thus challenges the existing scholarship that limits Leung’s transnational appeal to a restrained or minimalist acting style. A greater appreciation of Leung’s modulating, flexible and multi-layered performance is also illustrated through the scene’s juxtaposition of narrative and spectacle. The rupturing of the spectator’s empathetic and bodily engagement with Leung’s character during the spectacle sequence encourages the actor to shift his emotional response and bodily expressivity towards a performance delivery dictated by a flexible identity, thus bringing into relief the film’s preoccupation with a postcolonial identity crisis.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139325447","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

Documenting Chinese homecomings: Reflexive aesthetics and cinematic memories in Four Springs (2017) and The Reunions (2020) 记录中国人的回家：四个春天》（2017）和《团圆》（2020）中的反思美学与电影记忆

Asian Cinema Pub Date : 2023-10-01 DOI: 10.1386/ac_00072_1

Zhaoyu Zhu

{"title":"Documenting Chinese homecomings: Reflexive aesthetics and cinematic memories in Four Springs (2017) and The Reunions (2020)","authors":"Zhaoyu Zhu","doi":"10.1386/ac_00072_1","DOIUrl":"https://doi.org/10.1386/ac_00072_1","url":null,"abstract":"This article examines two contemporary Chinese films that document the filmmakers’ homecoming journey during the Chinese New Year: Sige chuntian (Four Springs) () and Jixiang ruyi (The Reunions) (). It argues that both films have the characteristic of being reflexive documentaries exploring and expanding the boundaries of documentary films. According to Meunier’s three types of filmic identifications – the documentary attitude, the home-movie attitude and the fiction attitude – the two films challenge documentary norms and combine the documentary attitude with the other two types of attitude. Four Springs combines documentary and home movie by closely capturing the four journeys of homecoming confined in the private sphere of the filmmaker’s home, whilst The Reunions combines documentary and fiction, and even actuality and performance, through actor Liu Lu’s portrayal of the director Da Peng’s cousin in the presence of his real family. By challenging these documentary forms, these two films reflect the directors’ uses of documentary to memorialize their personal experiences with their families, more than merely reflecting the cultural phenomenon of the Chinese New Year homecoming.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139328458","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

How Do We Look? Resisting Visual Biopolitics, Fatimah Tobing Rony (2022) 我们怎么看？抵制视觉生物政治学》，法蒂玛-托宾-罗尼（2022年）

Asian Cinema Pub Date : 2023-10-01 DOI: 10.1386/ac_00073_5

Debarati Byabartta

引用次数: 0

The revolutionary subject: Masao Adachi and Red Army/PFLP: Declaration of World War 革命主体：足立正夫与红军/人阵：世界大战宣言

Asian Cinema Pub Date : 2023-10-01 DOI: 10.1386/ac_00071_1

Seth A. Wilder

引用次数: 0

Sisworo Gautama Putra’s Primitives and the paradox of savagery 西斯沃罗-高塔玛-普特拉的《原始人》与野蛮的悖论

Asian Cinema Pub Date : 2023-10-01 DOI: 10.1386/ac_00069_1

David Kelly

引用次数: 0

‘Luso-orientalism’: Portuguese Asian ‘imagined communities’ in Estado Novo film propaganda 葡萄牙-东方主义"：新国家计划电影宣传中的葡萄牙亚裔 "想象中的社区

Asian Cinema Pub Date : 2023-10-01 DOI: 10.1386/ac_00070_1

Maria do Carmo Piçarra

引用次数: 0

Legend of The Chinese Boxer: Jimmy Wang Yu’s cosmopolitan wuxia pian 中国拳击手传奇：王的武侠片

Asian Cinema Pub Date : 2023-04-01 DOI: 10.1386/ac_00061_1

Liam Ball

{"title":"Legend of The Chinese Boxer: Jimmy Wang Yu’s cosmopolitan wuxia pian","authors":"Liam Ball","doi":"10.1386/ac_00061_1","DOIUrl":"https://doi.org/10.1386/ac_00061_1","url":null,"abstract":"The response to Jimmy Wang Yu’s death in April 2022 revealed the symptoms of undercelebration: while every professional obituary recognized the late filmmaker’s importance, few could explain why without inaccuracy or misattribution. This resonates with a long tradition of subjugating Wang’s work within the context of other, much more integral figures, in which the cultural and economic motivators for his filmic aesthetics are insufficiently considered. Similarly, various elements of Wang’s work, especially his purported anti-Japanism, have long been subjected to conjecture and simplification, or else an overreliance on the incorporation of biographical details into textual analyses of his films. This article aims to disentangle and clarify the myths and misconceptions that complicate the story of Wang’s career. To avoid repeating prior mistakes – i.e., to prevent the narrative distortion of associated figures within Wang’s narrative – the article will use the political economy of cinema as a guiding framework. The overall aim is to present a decentralized view of The Chinese Boxer (1970) to evaluate the cultural and material factors that motivated Wang’s career peak and the film for which he is most remembered.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2023-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41695040","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

Queer voice(over): Reassembling female desire in Chinese cinema 酷音(结束):中国电影中的女性欲望重组

Asian Cinema Pub Date : 2023-04-01 DOI: 10.1386/ac_00065_1

Xuefei Ma

引用次数: 0