发布求助
文献互助 智能选刊 最新文献

Asian Cinema最新文献

筛选
英文 中文
From Film Festivals to Online Streaming: Circuits of Distribution and Exhibition 从电影节到在线流媒体：发行和展览的循环
Asian Cinema Pub Date : 2021-02-16 DOI: 10.3366/edinburgh/9781474461764.003.0004
Olivia Khoo
{"title":"From Film Festivals to Online Streaming: Circuits of Distribution and Exhibition","authors":"Olivia Khoo","doi":"10.3366/edinburgh/9781474461764.003.0004","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474461764.003.0004","url":null,"abstract":"This chapter examines how the growth of specialised Asian film festivals (e.g. Busan, Hong Kong, Udine) participates in the development of a regional Asian cinema. It also considers the rise of digital distribution and exhibition of Asian cinema through online streaming models such as Viddsee. The chapter explores how alternative circuits of distribution respond to and in turn precipitate different audience consumption practices as filmmakers continue to seek ways of making films that will cross national markets.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46755372","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 Asian Cinema, Female Authorship and the Short Film Format 酷儿亚洲电影、女作家与短片形式
Asian Cinema Pub Date : 2021-02-16 DOI: 10.3366/edinburgh/9781474461764.003.0005
Olivia Khoo
{"title":"Queer Asian Cinema, Female Authorship and the Short Film Format","authors":"Olivia Khoo","doi":"10.3366/edinburgh/9781474461764.003.0005","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474461764.003.0005","url":null,"abstract":"This chapter examines how the short format film contributes to the formation of queer Asian cinema as a category that incorporates the efforts of women filmmakers. It pays attention to how unique qualities of the short film allow women filmmakers to actively engage with each other’s work within and across the region, and how this transnational connection is redefining how we might come to understand the figure of the individual ‘auteur’ of Asian cinema.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43168202","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
Pan-Asian Filmmaking and Co-productions with China: Horizontal Collaborations and Vertical Aspirations 泛亚电影制作和与中国合作:横向合作和纵向抱负
Asian Cinema Pub Date : 2021-02-16 DOI: 10.3366/edinburgh/9781474461764.003.0002
Olivia Khoo
{"title":"Pan-Asian Filmmaking and Co-productions with China: Horizontal Collaborations and Vertical Aspirations","authors":"Olivia Khoo","doi":"10.3366/edinburgh/9781474461764.003.0002","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474461764.003.0002","url":null,"abstract":"This chapter explores how film industries in Asia have sourced regional funding in the form of pan-Asian collaborations and bilateral co-productions. It takes as its case study Johnnie To’s Hong Kong-China co-production Office (2015) to examine how new funding models and production practices have been developed by Asia’s film industries in response to declining theatrical audiences and changing consumer trends.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2021-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46609017","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
Transmedia Sai-lou: The evolution of Hong Kong’s core values through comics, film and street protests 跨媒体赛楼:透过漫画、电影和街头抗议，香港核心价值观的演变
Asian Cinema Pub Date : 2020-10-01 DOI: 10.1386/ac_00023_1
W. Wong
{"title":"Transmedia Sai-lou: The evolution of Hong Kong’s core values through comics, film and street protests","authors":"W. Wong","doi":"10.1386/ac_00023_1","DOIUrl":"https://doi.org/10.1386/ac_00023_1","url":null,"abstract":"In this article, I investigate the evolution of the core values of the Hong Kong people through the term Sai-lou 細路, by means of storytelling in a transmedia context and with a focus on different historical stages, from approximately the end of the Second World War to the 2014 Umbrella Movement. Using the late 1930s four-panel comic strip, Sai-lou Cheung 細路祥 (Kiddy Cheung) created by Yuan Bou-wan 袁步雲 (1922–95) as the origin work for the term, this study examines the core values reflected in the 1950s film Sai-lou Cheung細路祥 (The Kid or My Son A-Chang) starring 9-year-old Bruce Lee, the 1999 film Sai-lou Cheung 細路祥 (Little Cheung) directed by Fruit Chan as well as news reports of the 2014 sit-in street protests whose student leaders the public regarded as Sai-lou 細路 (‘kids’).","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48006452","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
Home is where the kitchen is: Rinco’s Restaurant (2009) and Little Forest (2014, 2018)1 厨房在哪里，家就在哪里:林科餐厅(2009)和小森林(2014、2018
Asian Cinema Pub Date : 2020-10-01 DOI: 10.1386/AC_00020_1
Jinhee Choi
{"title":"Home is where the kitchen is: Rinco’s Restaurant (2009) and Little Forest (2014, 2018)1","authors":"Jinhee Choi","doi":"10.1386/AC_00020_1","DOIUrl":"https://doi.org/10.1386/AC_00020_1","url":null,"abstract":"The kitchen has become a prominent trope in East Asian cinema, the narratives of which revolve around the homecoming of female protagonists: Rinco’s Restaurant (2009) and Little Forest (2014, 2018). In part due to the fact that the films are adaptations of different media – novel and manga, respectively – and in part motivated by their narrative and style – the female protagonist’s loss of voice in Rinco’s Restaurant and the less frequent recourse to the verbal to express taste in these works – the audience is challenged to imagine the taste of, and pleasure in consuming, food, conveyed through only a limited set of sensorial modes. I focus on the transformative aspect of divergent modes of media storytelling in these films and their original source texts, and further argue that the kitchen becomes a ‘choric’ space for female protagonists where the relationship between mother and daughter is reconfigured in order to reinvent themselves.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47032394","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
Counter-narrating political ethnocracy: Interrogating Malay–Chinese ethnic relations in Flower in the Pocket and Nasi Lemak 2.0 反叙事的政治民族政治:《口袋里的花》和《纳西勒马克2.0》中对马来华民族关系的追问
Asian Cinema Pub Date : 2020-10-01 DOI: 10.1386/ac_00027_1
Kuan Chee Wah
{"title":"Counter-narrating political ethnocracy: Interrogating Malay–Chinese ethnic relations in Flower in the Pocket and Nasi Lemak 2.0","authors":"Kuan Chee Wah","doi":"10.1386/ac_00027_1","DOIUrl":"https://doi.org/10.1386/ac_00027_1","url":null,"abstract":"This article focuses on the analysis of two Sinophone films made by Chinese Malaysian filmmakers, which are Flower in the Pocket (Liew Seng Tat 2007) and Nasi Lemak 2.0 (Namewee/Wee 2011), and discusses how these films engage Malaysian ethnocracy by interrogating the ever-problematic Malay–Chinese relationship. Both filmmakers belong to the new generation of Chinese Malaysians who feel the need to question the political system and long for a more inclusive national identity. Flower in the Pocket depicts the uncomfortable relationship between Malays and Chinese by examining the stories of two families from both ethnic backgrounds while questioning how Malays have taken their privilege position and economic protection for granted. Nasi Lemak 2.0 instead parodies the mainstream Malay-centric ideology by deconstructing the image Malay heroism while satirizing UMNO’s manipulation of ethnic politics.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47054692","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
Inventing the Asian community: The Toronto Reel Asian International Film Festival as discourse and collective performance 创造亚洲社区：多伦多国际电影节作为话语和集体表演
Asian Cinema Pub Date : 2020-10-01 DOI: 10.1386/ac_00024_1
Michael Sooriyakumaran
{"title":"Inventing the Asian community: The Toronto Reel Asian International Film Festival as discourse and collective performance","authors":"Michael Sooriyakumaran","doi":"10.1386/ac_00024_1","DOIUrl":"https://doi.org/10.1386/ac_00024_1","url":null,"abstract":"This article examines how the Toronto Reel Asian International Film Festival constructs an imagined Asian community and how spectators perform their cultural identities at screenings and on social media. By screening films from some Asian nations and diasporas and not others, and by screening a disproportionate number of films from East Asia, Reel Asian’s programming selections imply that some Asian societies are more Asian than others, and posit certain essentialized cultural practices associated with those societies as being emblematic of the Orient as a whole. At screenings and on social media, spectators position themselves either as insiders who identify with the Orient, or as westerners who imaginatively project themselves into an oriental culture through an act of sympathetic understanding. Through an analysis of the Reel Asian Film Festival, this article demonstrates how identity-based film festivals function as sites where an imagined community becomes visible to itself and the general public.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42761873","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
Om Puri: The man who presented the real faces of the subcontinent of India 奥姆·普里：展现印度次大陆真实面貌的人
Asian Cinema Pub Date : 2020-10-01 DOI: 10.13140/RG.2.2.35546.29129
S. Rehman
{"title":"Om Puri: The man who presented the real faces of the subcontinent of India","authors":"S. Rehman","doi":"10.13140/RG.2.2.35546.29129","DOIUrl":"https://doi.org/10.13140/RG.2.2.35546.29129","url":null,"abstract":"The Indian film industry continues to turn out between 1600 and 2000 films every year, making it the largest movie-producing country in the world. Yet, it would be a challenge for an average European or American moviegoer to name a film actor from the Indian subcontinent. Naming the films may be easier. For instance, millennials may be able to name Slumdog Millionaire (2008), Generation X crowd may mention Gandhi (1982) and the older audiences may recall The Party (1968) and Ganga Din (1939) as movies about the Indians and India. It was not until the movie Gandhi that Indian actors were allowed to play as Indians. Sam Jaffe and Abner Biberman played as Indians in Ganga Din; Peter Sellers was the Indian actor in The Party, and Shirley MacLaine was the Princess Aouda in Around the World in 80 Days (1956). It is reasonable to assume that many film viewers may be unfamiliar with Om Puri, an actor who played in over 325 films in India, Pakistan, the United Kingdom and the United States, and made films in English, Bengali, Punjabi and Tamil languages. Om Puri passed away in 2017. His name may be unfamiliar, but his face and his work as an actor will remain unforgettable. Between Gandhi (1982) and Viceroy’s House (2017), Puri acted in two dozen films in the United Kingdom, Canada and the United States. This article discusses Puri’s work in popular Hindi cinema, in Indian Parallel Cinema, and European and North American films.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48179805","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
Transmedia storytelling and transmediated bodies in Fullmetal Alchemist (2017) 《Fullmetal Alchemist》中的跨媒体叙事和跨媒介身体(2017)
Asian Cinema Pub Date : 2020-10-01 DOI: 10.1386/ac_00021_1
Kukhee Choo
{"title":"Transmedia storytelling and transmediated bodies in Fullmetal Alchemist (2017)","authors":"Kukhee Choo","doi":"10.1386/ac_00021_1","DOIUrl":"https://doi.org/10.1386/ac_00021_1","url":null,"abstract":"\u0000Hagane no Renkinjutsushi (Fullmetal Alchemist) (2001, Hagaren in short) is a Japanese comic book franchise that not only expanded into a larger supersystem through its transmedia storytelling on multimedia platforms, but also through the global fandom of cosplay (the Japanese term for costume play), a form of popular culture that is heavily promoted by the Japanese government’s Cool Japan policy. Hagaren is set in an unidentifiable European landscape, a common depiction in many Japanese manga and anime, yet, in the 2017 live-action film that was globally distributed on Netflix, audiences witness a full Japanese cast performing European characters. This cross-racial performance, or yellow washing, challenges the border-crossing narrative and global viewership of the Hagaren’s manga and anime franchise. By examining how Hagaren’s supersystem developed out of the interplays of media industries, fan culture and broader governmental policies, this article aims to excavate the multifaceted politics of not only cross-border consumer identities, but also cross-racial performances propagated by the transmediation of Japanese popular culture on the global stage.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43898309","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
Literati Lenses: Wenren Landscape in Chinese Cinema of the Mao Era, Mia Yinxing Liu (2019) 《文人镜头:毛时代中国电影中的文人景观》，刘银星(2019)
Asian Cinema Pub Date : 2020-10-01 DOI: 10.1386/ac_00029_5
Young ji Lee
{"title":"Literati Lenses: Wenren Landscape in Chinese Cinema of the Mao Era, Mia Yinxing Liu (2019)","authors":"Young ji Lee","doi":"10.1386/ac_00029_5","DOIUrl":"https://doi.org/10.1386/ac_00029_5","url":null,"abstract":"Review of: Literati Lenses: Wenren Landscape in Chinese Cinema of the Mao Era, Mia Yinxing Liu (2019)\u0000Honolulu: University of Hawaii Press, 242 pp.,\u0000ISBN-13: 978-0-82485-983-1, h/bk, $75.00","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46437636","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
首页 上一页 下一页 尾页
0
×
引用
GB/T 7714-2015
复制
MLA
复制
APA
复制
导出至
BibTeX EndNote RefMan NoteFirst NoteExpress
×
提示
您的信息不完整，为了账户安全，请先补充。
现在去补充
×
提示
您因"违规操作"
具体请查看互助需知
我知道了
×
提示
现在去查看 取消
×
提示
确定
请完成安全验证×
相关产品
×
本文献相关产品
联系我们：info@booksci.cn Book学术提供免费学术资源搜索服务，方便国内外学者检索中英文文献。致力于提供最便捷和优质的服务体验。 Copyright © 2023 布克学术 All rights reserved.
京ICP备2023020795号-1
ghs 京公网安备 11010802042870号
Book学术文献互助
Book学术文献互助群
群 号：481959085
Book学术官方微信