Asian Cinema最新文献_第9页

Nuclear disasters and invisible spectacles 核灾难和隐形眼镜

Asian Cinema Pub Date : 2019-10-01 DOI: 10.1386/ac_00002_1

M. Yoshimoto

{"title":"Nuclear disasters and invisible spectacles","authors":"M. Yoshimoto","doi":"10.1386/ac_00002_1","DOIUrl":"https://doi.org/10.1386/ac_00002_1","url":null,"abstract":"The violence of nuclear catastrophe is fundamentally contradictory. On the one hand, when caused by nuclear weapons, it is highly visible and often spectacular. As is the case with exposure to a large dose of radiation, the consequence of this violence can be instantaneous, too. On\u0000 the other hand, odourless and invisible, radiation is beyond direct human perception. Furthermore, the deadly effect of radiation often manifests itself gradually over many years or even decades. This paradox of nuclear violence on human lives and the environment, which is simultaneously hypervisible\u0000 and invisible, poses a particular challenge to film and other types of visual media. In this article, I examine how Japanese cinema has long been struggling with the complex and contradictory relationship between the nuclear question and visual culture. Many Japanese filmmakers, including\u0000 well-known auteurs like Kurosawa Akira and those who specialize in popular genre movies such as tokusatsu eiga (‘special effects movies’), have tried to overcome the challenge of representing the invisibility of nuclear violence and radioactive contamination of the environment.\u0000 I discuss how popular Japanese cinema has experimented with various formal and stylistic means to make the invisibility of nuclear violence perceptible or imaginable.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"1 1","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41619768","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

The post-urban gaze and Hong Kong independent cinema: An ecofeminist perspective 后城市凝视与香港独立电影:生态女性主义视角

Asian Cinema Pub Date : 2019-10-01 DOI: 10.1386/ac_00005_1

Winnie L. M. Yee

{"title":"The post-urban gaze and Hong Kong independent cinema: An ecofeminist perspective","authors":"Winnie L. M. Yee","doi":"10.1386/ac_00005_1","DOIUrl":"https://doi.org/10.1386/ac_00005_1","url":null,"abstract":"The city has always been a prominent subject in Hong Kong cinema. Land has been seen only as a profitable commodity, controlled by property developers and the wealthy. Instead of exploring the countryside and the traditional farming and fishing villages, people shifted their focus to\u0000 Hong Kong: its skyline became the only valid point of perception. This marginalization of nature, however, was challenged in 2008 during the dispute between the villagers of Choi Yuen village and the Hong Kong government regarding the construction of Guangzhou‐Hong Kong High-Speed Rail\u0000 Link, which would demolish the village of 500 people that lay along its path. This article looks at Jessey Tsang’s documentary Flowing Stories (2014) and adopts an ecofeminist perspective on the ways in which Hong Kong’s cultural imaginary has been reinvented in films. The\u0000 role of documentaries in the independent film scene will be reviewed, especially the social-issue documentaries that have become popular since 2008. An ecofeminist approach to our understanding of Hong Kong could shift the paradigm of our stagnant cultural imaginary ‐ the urban city\u0000 ‐ and resituate Hong Kong in a closer connection with its surroundings and the world.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43192626","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 imagination of eco-disaster: Post-disaster rebuilding in Asian cinema 生态灾难的想象:亚洲电影的灾后重建

Asian Cinema Pub Date : 2019-10-01 DOI: 10.1386/ac_00007_1

Kiu-Wai Chu

{"title":"The imagination of eco-disaster: Post-disaster rebuilding in Asian cinema","authors":"Kiu-Wai Chu","doi":"10.1386/ac_00007_1","DOIUrl":"https://doi.org/10.1386/ac_00007_1","url":null,"abstract":"Commercial films today often reduce representations of natural catastrophes to commodified spectacles that de-contextualize the subject matter. To contemporary film viewers, the ‘psychic numbing’ effect is apparent, and it does not apply merely to our perception of numbers,\u0000 statistics, the big data. It can also be seen when we are bombarded with similar kinds of images over and over again; in this case, the large-scale tsunami, the hurricanes, the earthquake and all the exaggerated destruction scenes in recent disaster movies have become clichés no matter\u0000 how realistic and intense the shots are made. By focusing on a range of eco-disaster films, this article highlights the importance of cultural sensitivity in the study of eco-disaster films, by exploring several questions: how are eco-disasters culturally shaped and defined, via cinematic\u0000 means? How are human responses to disasters, as reflected in cinematic representations, shaped by specific sociopolitical, cultural or economic conditions? How does cinema as a media form represent ecological concepts that are shared globally or universally, while at the same time reflecting\u0000 specific cultural characteristics? Juxtaposing examples from China, Thailand and the Phillippines, particularly with three films: Wonderful Town (Thailand, 2007), Aftershock (China, 2010) and Taklub (Phillippines, 2015), this article demonstrates how Asian eco-disaster\u0000 films in the Anthropocene epoch reflect specific cultural imaginations of nation and identity rebuilding, which in turn provide a ground to reposition, redefine and reinvent the changing cultural identities in contemporary Asia. Eventually, it argues that eco-disaster narratives in Asia reflect\u0000 the identity crisis of Asian nations in a global capitalist world, just as much as they are about ecological crises.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46166499","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

It’s tough being a humanist: Yōji Yamada, the cynical company man 做一个人道主义者很难：愤世嫉俗的公司人山田洋司

Asian Cinema Pub Date : 2019-04-01 DOI: 10.1386/AC.30.1.17_1

Kenta Kato