Asian Cinema最新文献_第4页

Cinema Off Screen: Moviegoing in Socialist China, Zhou Chenshu (2021) 《银幕外的电影:社会主义中国的电影观影》，周晨舒(2021)

Asian Cinema Pub Date : 2021-10-01 DOI: 10.1386/ac_00043_5

Victor Wu

引用次数: 0

‘Why am I still imprisoned in your eyes?’: Re-visioning ‘leftover women’ and the female gaze in Send Me to the Clouds “为什么我仍然被囚禁在你的眼中？”：《送我上云端》中的剩女与女性凝视

Asian Cinema Pub Date : 2021-10-01 DOI: 10.1386/ac_00040_1

H. Xiao

{"title":"‘Why am I still imprisoned in your eyes?’: Re-visioning ‘leftover women’ and the female gaze in Send Me to the Clouds","authors":"H. Xiao","doi":"10.1386/ac_00040_1","DOIUrl":"https://doi.org/10.1386/ac_00040_1","url":null,"abstract":"This article studies how a recent Chinese women’s film Send Me to the Clouds (2019) explores different ways of looking as innovative cinematic strategies of constructing and empowering the precarious female subject against a postsocialist patriarchal ideology that dominates\u0000 gendered narratives and audio-visual codes of the mainstream Chinese cinema. The film is centred upon a 30-year-old ‘leftover woman’ Sheng Nan’s distressful life experiences and her anger at the prevailing sexism and ageism. Rather than being tamed or domesticated, throughout\u0000 the film the angry and restless woman is shown to be constantly on the motion, making every effort to experiment with alternative looking relations that seek to destroy the voyeuristic pleasure and disciplinary power of the privileged male gaze, as well as to explore possibilities of creating\u0000 a self-reflective and critical female gaze. A contextualized critical study of the female authorship and agency on and behind the screen will shed new light on how contemporary Chinese women filmmakers take on ‘concrete and various negotiations’ with the structure of domination\u0000 and its representational system via ‘their socially and politically conditioned cinematic practice or performance’.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49054519","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

Affect, blankness, theatrics: Rurality and faciality in three Chinese instances 情感、空白、戏剧:三个中国实例中的乡村性与面相性

Asian Cinema Pub Date : 2021-10-01 DOI: 10.1386/ac_00039_1

Emily Ng

{"title":"Affect, blankness, theatrics: Rurality and faciality in three Chinese instances","authors":"Emily Ng","doi":"10.1386/ac_00039_1","DOIUrl":"https://doi.org/10.1386/ac_00039_1","url":null,"abstract":"The face and the close-up have been central to film theory since its early days. If modern visual theories of the face arose in Europe amid urbanization and imperial encounter, in the People's Republic of China (PRC), the political aesthetics of faciality became central to Maoist mass\u0000 mobilizations of the countryside, in part through collective village film screenings. Bringing together themes of faciality, rurality and anxieties of global encounter, this article considers how the rural has been staged through genres of the face in Chinese cinema and television. Through\u0000 close readings of the Maoist era The Youth of Our Village, Jia Zhangke’s Still Life and Zhao Benshan Media’s series Rural Love Story, I consider three distinct deployments of the face in depictions of rural and environmental transformation. Thinking with while\u0000 also departing from Deleuze’s formulations in Cinema 1 and Cinema 2, the article traces an emotively intense face reminiscent of the affection-image, a blank face that operates in part as a time-image and a performative face of what might be called a theatrics-image. Across\u0000 its readings as a site of affective immediacy, despotic inscription, moral character and social‐political manoeuvring, the face offers a multivalent site for political, aesthetic and affective mediation, on- and off-screen.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42720020","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

Beyond aesthetics: The long take as the nation-form in the cinema of Lav Diaz 超越美学:拉·迪亚兹电影中作为民族形式的长镜头

Asian Cinema Pub Date : 2021-10-01 DOI: 10.1386/ac_00038_1

E. García

引用次数: 0

Filming the Singaporean killer: Trauma, murder and modernity in Medium Rare (1991) and God or Dog (1997) 拍摄《新加坡杀手：创伤、谋杀与现代》（1991年）和《上帝还是狗》（1997年）

Asian Cinema Pub Date : 2021-10-01 DOI: 10.1386/ac_00041_1

Benson Pang

引用次数: 0

The Early Transnational Chinese Cinema Industry, Fu Yongchun (2019) 《早期跨国中国电影产业》，傅永春(2019)

Asian Cinema Pub Date : 2021-04-01 DOI: 10.1386/AC_00037_5

R. Hyland

引用次数: 0

Storming off the tracks: Zombies, high speed rail and South Korean identity in Train to Busan 在《釜山行》中，僵尸、高速铁路和韩国人的身份

Asian Cinema Pub Date : 2021-04-01 DOI: 10.1386/AC_00032_1

Ryan Gardener

引用次数: 0

Foreign ideas, native spaces: Crime and Punishment in recent Asian cinema 外来思想，本土空间:亚洲电影近期的罪与罚

Asian Cinema Pub Date : 2021-04-01 DOI: 10.1386/AC_00034_1

Alexander Burry

引用次数: 0

The critique of anti-communist state violence in Uncle Boonmee Who Can Recall His Past Lives 《能回忆前世的布恩美叔叔》对反共国家暴力的批判

Asian Cinema Pub Date : 2021-04-01 DOI: 10.1386/AC_00035_1

Palita Chunsaengchan

{"title":"The critique of anti-communist state violence in Uncle Boonmee Who Can Recall His Past Lives","authors":"Palita Chunsaengchan","doi":"10.1386/AC_00035_1","DOIUrl":"https://doi.org/10.1386/AC_00035_1","url":null,"abstract":"Apichatpong Weerasethakul’s Palme d’Or-awarded Uncle Boonmee Who Can Recall His Past Lives (2010) has ostensibly been embraced by both critics and scholars alike as international art cinema and for being constitutive of a canon of world cinema from the vantage of\u0000 Southeast Asia. This article, however, takes a detour to focus particularly on the film’s engagement with Thai politics and its complex intertwinement with Buddhism during the period of anti-communism. I specifically look at how the film replicates religious beliefs and indigenous practices,\u0000 such as the structure of kamma and reincarnation as redemption, that were used by the right-wing military government to justify a series of anti-communist pogroms. I argue that by hijacking such religious narratives and translating them into cinematic form, the film manages to eschew\u0000 the risk of being suppressed by censorship, or, at worst, of reproducing the state-imposed narrative on the appropriation and accomplishment of such violence in the name of the nation. This article aims to shed light on how the film criticizes not only the past ‐ what historically happened\u0000 ‐ but also the way we come to understand the history of such atrocious event and relate to it as our national history.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"32 1","pages":"95-111"},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49360634","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

Sentimental journey? The drifting rhythms of Tsai Ming-liang’s Journey to the West 伤感的旅程吗?蔡明亮《西游记》的漂流节奏

Asian Cinema Pub Date : 2021-04-01 DOI: 10.1386/AC_00030_1

Seth A. Wilder

引用次数: 0