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Kitano Takeshi’s ‘melancholic nationalism’ and the role of Koreans in the Outrage trilogy1 北野武的“忧郁的民族主义”与《义愤》三部曲中韩国人的角色
Asian Cinema Pub Date : 2022-04-01 DOI: 10.1386/ac_00046_1
Mika Ko
{"title":"Kitano Takeshi’s ‘melancholic nationalism’ and the role of Koreans in the Outrage trilogy1","authors":"Mika Ko","doi":"10.1386/ac_00046_1","DOIUrl":"https://doi.org/10.1386/ac_00046_1","url":null,"abstract":"This article will examine the way in which Koreans are mobilized in Kitano Takeshi’s Outrage series and how their representations may be related to Kitano’s vision of Japan. In order to do so, the article first places the Outrage trilogy in the context of Kitano’s other films as well as previous representations of Koreans in Japanese yakuza (gangster) films in general. The article then continues to explore the role of Korean characters in Outrage Beyond and Coda and discusses the way in which the seemingly progressive transnational bonding and Korean representation may confirm Kitano’s romantic nationalism or what I would call ‘melancholic nationalism’.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2022-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45300527","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
Purba film as a prototype of Malay film genre: A preliminary exploration 作为马来电影类型原型的Purba电影初探
Asian Cinema Pub Date : 2021-10-01 DOI: 10.1386/ac_00042_1
N. Yusoff
{"title":"Purba film as a prototype of Malay film genre: A preliminary exploration","authors":"N. Yusoff","doi":"10.1386/ac_00042_1","DOIUrl":"https://doi.org/10.1386/ac_00042_1","url":null,"abstract":"This article attempts to trace the historical development of the period costume dramas known as Purba films, a prototyped genre for Malay cinema produced in Singapore and Kuala Lumpur during the ‘studio era’ from the late 1940s to early 1970s. Either adapted from\u0000 folk literature/theatre and historical texts or based on original ideas by the screenwriters/directors, Purba films are set in the pre-colonial era, invariably in a kampong and glorify the Malay world prior to the arrival of the imperialists. I argue that the genre, which encompasses\u0000 diverse variants and subdivisions, has undergone several phases of transformation and evolution, in particular, while drawing out the genre’s codes, conventions and ideologies. Additionally, I demonstrate that they are, on the one hand, culturally and cinematically specific, and, on\u0000 the other, are borrowed from, and shaped by, other cinematic genres, forms and practices. The discussion also provides evidence on how Purba films were situated within the cultural and industrial contexts.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45579006","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
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
{"title":"Cinema Off Screen: Moviegoing in Socialist China, Zhou Chenshu (2021)","authors":"Victor Wu","doi":"10.1386/ac_00043_5","DOIUrl":"https://doi.org/10.1386/ac_00043_5","url":null,"abstract":"Review of: Cinema Off Screen: Moviegoing in Socialist China, Zhou Chenshu (2021)Berkeley: University of California Press, 282 pp.,ISBN 978-0-52034-339-9, p/bk, $34.95","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41496742","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
‘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":null,"pages":null},"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":null,"pages":null},"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
{"title":"Beyond aesthetics: The long take as the nation-form in the cinema of Lav Diaz","authors":"E. García","doi":"10.1386/ac_00038_1","DOIUrl":"https://doi.org/10.1386/ac_00038_1","url":null,"abstract":"This article argues that the extreme long take of Lav Diaz is not only his aesthetic method but also his ideological position as a filmmaker of Third Cinema, reinstating the theory’s critical arsenal in opposing the violent structure of the postcolonial nation state. It maintains\u0000 that the Diaz shot is isomorphic to the nation-form and has two political dimensions: first, the extreme duration of the shot is Diaz’s resistance to the imperialism of mainstream cinema and its debilitating effects by employing ‘dead time’ which creates restlessness and\u0000 reflexivity that disrupt absorption to enable a mode of critical spectatorship; second, the Diaz shot is a critique on Philippine postcolonial society which can be understood by examining the triadic structure of space, time and body. Using the film Mula sa Kung Ano Ang Noon (From\u0000 What Is Before) (2014), this article proposes an anatomy of the shot as a unitary system of environment, duration and progression of actions, labouring bodies of subalterns in the state of bare life. It expands the possibility of the long take from the narrowly held study of time and space\u0000 to include a study of bodies.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42146446","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
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
{"title":"Filming the Singaporean killer: Trauma, murder and modernity in Medium Rare (1991) and God or Dog (1997)","authors":"Benson Pang","doi":"10.1386/ac_00041_1","DOIUrl":"https://doi.org/10.1386/ac_00041_1","url":null,"abstract":"This article considers how two Singapore horror films, Medium Rare (1991) and God or Dog (1997), attempted to make sense of the real-life Adrian Lim ritual murders through two divergent approaches to the co-constitutive relationship between modernity and violence. First,\u0000 by formulating an image of Singapore as a rational global cosmopolis, Medium Rare positions Lim and his superstitious violence as malignant anomalies that must be expelled to protect Singapore’s modern identity. Conversely, God or Dog portrays Lim’s madness as an\u0000 unfortunate consequence of the country’s rapid modernization. Put together, these films use Lim and his crimes as vehicles through which they explore Singapore’s troubled endeavours at self-definition within the early fringe of the 1990s Singapore new wave cinema.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47562819","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
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
{"title":"The Early Transnational Chinese Cinema Industry, Fu Yongchun (2019)","authors":"R. Hyland","doi":"10.1386/AC_00037_5","DOIUrl":"https://doi.org/10.1386/AC_00037_5","url":null,"abstract":"Review of: The Early Transnational Chinese Cinema Industry, Fu Yongchun (2019)London: Routledge, 156 pp.,ISBN 978-0-42949-006-4, e-book, £29.59ISBN 978-0-36766-134-2, p/bk, £29.59ISBN 978-1-13859-237-7, h/bk, £96.00","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47657361","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
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
{"title":"Storming off the tracks: Zombies, high speed rail and South Korean identity in Train to Busan","authors":"Ryan Gardener","doi":"10.1386/AC_00032_1","DOIUrl":"https://doi.org/10.1386/AC_00032_1","url":null,"abstract":"This article focuses on how the recent blockbuster hit Train to Busan (Yeon 2016), in transposing the zombie horror genre into the South Korean setting, allows South Korean history and social context to actively shape the manner in which it appropriates a genre largely untested\u0000 by the local film industry. It argues that the film uses genre as a global vernacular through which to speak of specifically Korean issues (in particular, the Korean War, and the issues of South Korea’s speed-oriented Ppalli-Ppalli culture), and locates such practice within the\u0000 broader context of contemporary South Korean cinema.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47557294","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
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
{"title":"Foreign ideas, native spaces: Crime and Punishment in recent Asian cinema","authors":"Alexander Burry","doi":"10.1386/AC_00034_1","DOIUrl":"https://doi.org/10.1386/AC_00034_1","url":null,"abstract":"In recent years, Fyodor Dostoevsky’s Crime and Punishment has furnished source material for two major Asian film directors: Darezhan Omirbaev (Student [2012]) and Lav Diaz (Norte, the End of History [2013]). Each director adapts Dostoevsky’s critique\u0000 of the newly emerging market economy in 1860s Russia in order to depict the impact of capitalism on postcolonial Asian societies, highlighting the alienation characters experience from themselves and in relation to other human beings in particular. In doing so, Omirbaev and Diaz recreate and\u0000 transfer the novelist’s opposition between native, eastern, Russian Orthodox values and encroaching western ideas to their own countries. Omirbaev depicts the damage caused to ordinary Kazakhs by a ‘survival-of-the-fittest’ economic model; Diaz chronicles the merciless toll\u0000 of capitalism on the rural Filipino poor. Like Dostoevsky, each director proposes a return to native cultural, linguistic and environmental elements as a means of countering harmful foreign ideologies that victimize everyday people.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44593804","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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