Journal of Chinese Cinemas最新文献

{"title":"Hou Hsiao-Hsien’s acousmatic sound: Listening to urban noises and decadent music in Daughter of the Nile","authors":"Kun Xian Shen","doi":"10.1080/17508061.2024.2376965","DOIUrl":"https://doi.org/10.1080/17508061.2024.2376965","url":null,"abstract":"This paper reconsiders the mediation of urban noises and decadent music in Hou Hsiao-hsien’s long-overlooked film Daughter of the Nile (1987) under the contexts of noise control and popular enterta...","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"53 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-07-24","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141776250","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Circuits of mobility in Love and Duty","authors":"Kristine Harris","doi":"10.1080/17508061.2024.2335119","DOIUrl":"https://doi.org/10.1080/17508061.2024.2335119","url":null,"abstract":"When the 1931 Shanghai film Love and Duty was rediscovered in 1993, it garnered attention as a masterpiece of film melodrama and the earliest extant work starring Ruan Lingyu. Yet nearly a century ...","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"2011 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-07-08","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"141613153","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The ‘Queer Woman’ between Shanghai and Nanyang, 1920s–1930s","authors":"Xuelei Huang","doi":"10.1080/17508061.2024.2320608","DOIUrl":"https://doi.org/10.1080/17508061.2024.2320608","url":null,"abstract":"This article examines the actress Yang Naimei and a movie produced by her film company entitled Qi nüzi (A Queer Woman, dir. Shi Dongshan, 1928), based on the recent suicide of Yu Meiyan, a headlin...","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"10 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-03-13","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"140115754","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Marion Evelyn Hong before and after the Curse of the Quon Gwon (1916)","authors":"Lisa Kumaradjaja, Chris Kumaradjaja","doi":"10.1080/17508061.2023.2292462","DOIUrl":"https://doi.org/10.1080/17508061.2023.2292462","url":null,"abstract":"This article is a result of an invitation to share the authors’ knowledge and family stories and offer perspectives about Marion E. Hong (1895–1969, also known as Marion Evelyn Wong). The intent is...","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"92 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-02-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139756135","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Hou Hsiao-hsien’s acousmatic sound: Listening to urban noises and decadent music in Daughter of the Nile","authors":"Raymond Kun-Xian Shen","doi":"10.1080/17508061.2024.2313877","DOIUrl":"https://doi.org/10.1080/17508061.2024.2313877","url":null,"abstract":"This article reconsiders the mediation of urban noises and decadent music in Hou Hsiao-hsien’s long-overlooked film Daughter of the Nile (1987) under the dual contexts of noise control and popular ...","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"44 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-02-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139755654","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Sticking with Trans: Reconsidering Chinese American Cinema through Anna May Wong","authors":"Yiman Wang","doi":"10.1080/17508061.2024.2305766","DOIUrl":"https://doi.org/10.1080/17508061.2024.2305766","url":null,"abstract":"This article asks what exactly makes the trans a key concept in our understanding of Sino-American filmic transactions. By studying two silent films of the Chinese American film pioneer, Anna May W...","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"88 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2024-02-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139755720","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"Playing the minzu/minzoku card: Melodramas of race and nation in colonial Manchuria","authors":"Xinyi Zhao","doi":"10.1080/17508061.2023.2290462","DOIUrl":"https://doi.org/10.1080/17508061.2023.2290462","url":null,"abstract":"Through the lens of minzu/minzoku (‘ethos’, ‘race’, or ‘nation’), this paper examines the melodrama practices of the Manchuria Film Association (Manying), a Japan-financed film production company t...","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"5 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-12-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"138826001","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"It is all about qingnian dianying : Post-independent Chinese cinema, auteurism, and the FIRST International Film Festival","authors":"Shan Tong, Ran Ma","doi":"10.1080/17508061.2023.2286861","DOIUrl":"https://doi.org/10.1080/17508061.2023.2286861","url":null,"abstract":"","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"1 1","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-28","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139221143","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The birth of noise in modern China: Radio, amateur engineering, and the sonic network","authors":"Xiangjun Feng","doi":"10.1080/17508061.2023.2280435","DOIUrl":"https://doi.org/10.1080/17508061.2023.2280435","url":null,"abstract":"","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"173 ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2023-11-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"139242475","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

{"title":"The making and screening of independent films in the absence of radical Revolution: An interview with Augustine Mok Chiu-yu on social movements, technology, and censorship","authors":"Tom Cunliffe, Raymond Tsang","doi":"10.1080/17508061.2023.2266145","DOIUrl":"https://doi.org/10.1080/17508061.2023.2266145","url":null,"abstract":"AbstractThis is a wide-ranging interview with Augustine Mok Chiu-yu. It focuses on topics including film exhibition in Hong Kong of political films from across the globe and the making of independent and experimental cinema in Hong Kong. This contributes to an assessment of Hong Kong left-wing cinema in the 1970s that transcends and moves beyond the limiting boundaries of the US-Soviet Union Cold War discourse. Mok discusses his own role and history in producing and screening of progressive films in Hong Kong during this period. Augustine Mok Chiu-yu was a founding member of The 70’s Biweekly, an independent youth magazine first published on the first day of 1970. He was a social/political activist in The 70’s but he became more a cultural activist involved in writings and cultural work in subsequent years. He moved into theatre, performance art and community cultural development work and has performed in the US, UK, Poland, Germany, Austria, Switzerland, Kathmandu, Bangla Desh, Myanmar Republic, South Korea etc. He has organized many cross-cultural projects that toured in Asia and Europe. He won the first ever Award for Theatre of the Hong Kong Arts Development Council for the year 1998 and has been a great promoter in arts and disability, community arts and community cultural development in Hong Kong. He helped to found the Hong Kong International Deaf Film Festival and has been its hearing organizer for the 12 editions of the Festival. He was the producer of the 35 mm film entitled An Open Letter to Hong Kong’s Literary Youth and the documentary Black Bird - A Living Song. He has acted in Life and Times of Ng Chung Yin (Evans Chan), Ordinary Heroes (Ann Hui), Port Unknown (Mamunur Rashid), and N+N (Mo Lai). AcknowledgementMok Chiu-yu would like to thank Jimmy Choi Kam Chuen for providing more materials which were incorporated into some of his answers.Notes1 The Chinese language movement began in the 1970s, when English was the only official language used by the Hong Kong government. Because of that, notices, reports, gazettes and other government documents were not accessible to ordinary Chinese residents who could only read Chinese. The language policy aimed at separating the elite from the local Chinese, in order to stop local people from knowing about and engaging with political issues. Hence, the language movement registered the need to better understand Hong Kong society, and elevated the Chinese language as another official language.2 Also known as the Baodiao movement, Defend the Diaoyu Islands movement is about the territorial right over the Diaoyu/Senkaku Islands. It became a nationalistic movement among young students in Hong Kong, Taiwan and overseas Chinese communities in the United States.3 The 70s Biweekly was a radical magazine founded in 1970 by a group of young people whose political positions ranged from anarchist to internationalist to Trotskyist. They include Ng Chung Yin, Chan Qing Wai and Mok Chiu-yu.4 Aka. Letter to the ","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"319 11","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-07","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135475058","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}