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‘Transmedia and Asian Cinema’ editors’ introduction 《跨媒体与亚洲电影》编辑简介
Asian Cinema Pub Date : 2020-10-01 DOI: 10.1386/ac_00025_2
Liew Kai Khiun, Sangjoon Lee
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引用次数: 0
The platformization of Chinese cinema: The rise of IP films in the age of Internet+ 中国电影的平台化:互联网+时代IP电影的崛起
Asian Cinema Pub Date : 2020-10-01 DOI: 10.1386/ac_00022_1
Jinying Li
{"title":"The platformization of Chinese cinema: The rise of IP films in the age of Internet+","authors":"Jinying Li","doi":"10.1386/ac_00022_1","DOIUrl":"https://doi.org/10.1386/ac_00022_1","url":null,"abstract":"This article interrogates the recent rise of the so-called ‘IP films’ in the Chinese media industry as an indication of a profound transformation in the cultural and economic organization of Chinese cinema, a process that is characterized as platformization. The article examines this process by studying the discursive formation and industrial formulation of the notion of ‘IP’, analysing it as less a novel strategy for filmmaking than a new logic of content generation and labour management, which are mediated and controlled by digital platforms. By studying how the concept was invented, interpreted and utilized in the media industries, I interrogate the interwoven and contested relationship between platforms and content, and examine how the operational logic of platforms changed the ways in which cinematic content is created, distributed and consumed in a transmedial process. The article demonstrates that the transmedia system of IP operates as an assembled network of ‘affective modules’, where affective contacts with and among the audiences are generated, captured and framed by the algorithmic infrastructure of platforms. Such is the process of platformization of cinema; it entails radical transformation not only in content generation also in labour management, a shift from paid professional workers to unpaid participatory fans.","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":"43964643","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
Haunting China: Ecopoetics of Zhao Liang’s Behemoth 纠缠中国：赵梁行为的生态诗学
Asian Cinema Pub Date : 2020-10-01 DOI: 10.1386/ac_00026_1
Z. Pecic
{"title":"Haunting China: Ecopoetics of Zhao Liang’s Behemoth","authors":"Z. Pecic","doi":"10.1386/ac_00026_1","DOIUrl":"https://doi.org/10.1386/ac_00026_1","url":null,"abstract":"Taking a close look at Zhao Liang’s 2015 documentary Behemoth, this article argues that the film employs the aesthetic of slow cinema and combines it with Marxist critique in order to generate an ecological awareness that pushes the boundaries of ecocinema. By suturing the slow aesthetic to the environmental destruction of Inner Mongolia’s landscape and the exploitation of China’s migrant workers, Behemoth reorients the viewing gaze from the spectacular and the exotic towards the self-aware and the introspective. The article argues that Zhao’s film, which featured in the main competition for the Golden Lion at the 72nd Venice International Film Festival, self-consciously manoeuvres between a critique of China’s environmental devastation and the western audience’s expectation of viewing such a catastrophe as a sign of self-expression and self-critique.","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":"42615569","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: 2
Context of Production, Distribution, and Exhibition 生产、发行和展览的背景
Asian Cinema Pub Date : 2020-05-26 DOI: 10.4324/9781003084938-3
G. Gray
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引用次数: 0
Conclusion 结论
Asian Cinema Pub Date : 2020-05-26 DOI: 10.4324/9781003084938-5
G. Gray
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引用次数: 0
Film Theory 电影理论
Asian Cinema Pub Date : 2020-05-26 DOI: 10.4324/9781003084938-2
G. Gray
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引用次数: 0
Where got ghost movie?: The boundaries of Singapore horror 鬼电影在哪里？：新加坡恐怖的边界
Asian Cinema Pub Date : 2020-04-01 DOI: 10.1386/ac_00013_1
A. Knee
{"title":"Where got ghost movie?: The boundaries of Singapore horror","authors":"A. Knee","doi":"10.1386/ac_00013_1","DOIUrl":"https://doi.org/10.1386/ac_00013_1","url":null,"abstract":"While acknowledging that the horror film is generally not considered a major part of the ‘Singapore new wave’, this article makes the case that Singapore horror films nevertheless merit closer critical evaluation not only because of their sustained output in a very small\u0000 industry, but also because of their articulation of a range of issues germane to Singapore nationhood and identity ‐ issues which obtain in other Singapore films as well. The discussion surveys the entirety of the Singapore horror output from the 1990s onwards and draws out a number\u0000 of key distinctive themes and trends, such as the referencing of Chinese supernatural beliefs and regional Southeast Asian spirits, and also the distinctive preponderance of horror narratives involving military or police. The films are then read in relation to broad tropes of gender, geography\u0000 and regulation.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/ac_00013_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45571118","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
Singapore as non-place: National cinema through the lens of temporal heterogeneity 新加坡作为非本土：从时间异质性的视角看国家电影
Asian Cinema Pub Date : 2020-04-01 DOI: 10.1386/ac_00012_1
MaoHui Deng
{"title":"Singapore as non-place: National cinema through the lens of temporal heterogeneity","authors":"MaoHui Deng","doi":"10.1386/ac_00012_1","DOIUrl":"https://doi.org/10.1386/ac_00012_1","url":null,"abstract":"This article suggests that Singapore and Singapore cinema serve as a good site to return to debates surrounding the national. First, I investigate the disconnect between the present and the past in contemporary Singapore and argue that contemporary Singapore cinema is microcosmic of\u0000 the nation’s uncomfortable relationship with the past. Drawing from Marc Augé’s work in order to understand this temporal disconnect, I propose to think of the nation as a non-place, where the nation is thought of as a liminal entity. Ultimately, I call for a reconsideration\u0000 of Singapore cinema through the lens of temporal heterogeneity, suggesting that the notion of the nation as a non-place allows us to not only understand the evolving present of the nation(al) but also cinema’s role in helping access the past.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/ac_00012_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46820261","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
Imagining film censorship in Singapore: The case ofSex.Violence.FamilyValues 想象新加坡的电影审查制度:性、暴力、家庭价值观的案例
Asian Cinema Pub Date : 2020-04-01 DOI: 10.1386/ac_00014_1
Siao Yuong Fong
{"title":"Imagining film censorship in Singapore: The case ofSex.Violence.FamilyValues","authors":"Siao Yuong Fong","doi":"10.1386/ac_00014_1","DOIUrl":"https://doi.org/10.1386/ac_00014_1","url":null,"abstract":"This article aims to rethink film censorship in Singapore by investigating how the agents involved in the Singapore Board of Film Censors imagine and represent its processes. Contrary to deterministic and structural approaches, I argue for the consideration of how specific events and practices articulate film censorship in Singapore in specific ways and how these, in turn, feed back into the process of censorship. Using the case study of Ken Kwek’sSex.Violence.FamilyValues(2012), this article problematizes idealistic representations of the censorship system as an efficient machine made up of separate components with clearly defined functions. It finds instead that the complex agency based on contingent relations and identities make any form of overall structure in film censorship impossible. This inherent ambiguity of the censorship process has serious consequences for those involved in filmmaking and implications for our theoretical understandings of the so-called ‘Singapore New Wave’.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45905398","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
K. Rajagopal on making films for and on the ethnic minority in Singapore K. Rajagopal为新加坡的少数民族制作电影
Asian Cinema Pub Date : 2020-04-01 DOI: 10.1386/ac_00019_7
H. W. Ng
{"title":"K. Rajagopal on making films for and on the ethnic minority in Singapore","authors":"H. W. Ng","doi":"10.1386/ac_00019_7","DOIUrl":"https://doi.org/10.1386/ac_00019_7","url":null,"abstract":"This interview was motivated by an interest in exploring how Singapore film directors perceive the three major Chinese cinema awards, mainly the Golden Horse Awards (GHA), Hong Kong Film Awards (HKFA) and Golden Rooster Awards (GRA), and what they might signify for Singapore cinema,\u0000 especially for a nation that is predominantly ethnic Chinese. Compared to the number of Singapore Chinese-language films produced in the last two decades, there have been considerably less Indian-language productions. K. Rajagopal’s A Yellow Bird (2016) alongside two other Tamil films,\u0000 namely Eric Khoo’s My Magic (2008) and T. T. Dhavamanni’s Gurushetram: 24 Hours of Anger (2010) offer critical takes on the vicissitudes of Singapore Indians struggling with issues such as socioeconomic inequality and racial prejudice in a booming Chinese-majority city-state.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":null,"pages":null},"PeriodicalIF":0.0,"publicationDate":"2020-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48251530","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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