Journal of Chinese Cinemas最新文献_第4页

The reincarnation of Tiger Mountain: Post-socializing the model opera film 虎山转世：后社会化的样板戏电影

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2022-05-19 DOI: 10.1080/17508061.2022.2077083

Xiuhe Zhang

{"title":"The reincarnation of Tiger Mountain: Post-socializing the model opera film","authors":"Xiuhe Zhang","doi":"10.1080/17508061.2022.2077083","DOIUrl":"https://doi.org/10.1080/17508061.2022.2077083","url":null,"abstract":"This thesis is not simply about the model opera film (yangbanxi ), a genre that was favorably engineered by Madame Mao, Jiang Qing, in order to feed highly politicized lives of the Chinese masses, and scheme to continue igniting the revolutionary fervor among peasants, workers and soldiers. Instead, it opens up the discussion of reconsidering the politics of cultural production in contemporary China. By comparatively examining the narrative and film form in Taking Tiger Mountain by Strategy (1970) and The Taking of Tiger Mountain (2014), this thesis seeks to unravel the three main forces that are conventionally intertwined and negotiate with one another - globalization, nationalization, and regionalization - so as to articulate an ambivalent correlation between political economy, authoritarian control of the Chinese Communist Party, creative autonomy of the artist, and phenomenological contingency of moving image in digital cinema. Thus, the thesis is not only evaluating the state of Chinese-language cinema, but also reinvestigating the stake of cultural production in contemporary China, arguing for highlighting the complexity and paradox that are largely overlooked and/or oversimplified by the existing scholarship. I certify that the Abstract is a correct representation of the content of this thesis.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-05-19","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45180359","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}

引用次数: 1

Living in hot topics: Interactions of social media and cinema in Glass Children (Rong Guangrong, 2019) and Better Days (Derek Tsang, 2019) 生活在热点话题中：《玻璃孩子》（荣光荣，2019）和《美好的日子》（曾俊华，2019）中的社交媒体与电影互动

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-09-02 DOI: 10.1080/17508061.2021.2003063

Katherine Morrow

{"title":"Living in hot topics: Interactions of social media and cinema in Glass Children (Rong Guangrong, 2019) and Better Days (Derek Tsang, 2019)","authors":"Katherine Morrow","doi":"10.1080/17508061.2021.2003063","DOIUrl":"https://doi.org/10.1080/17508061.2021.2003063","url":null,"abstract":"Abstract Both the commercial and critical hit Better Days (Derek Tsang, 2019) and the independent essay film Glass Children (Rong Guangrong, 2019) engage with the issue of youth suicide, whether through narrative or documentary frameworks. Beyond the films’ shared compassion for vulnerable students and interpellation of viewers as concerned citizens, their depiction of this social issue also offers an opportunity to reflect on cinema’s relationship to social media and online discussion of hot topics. This article analyzes the films, as well as related zimeiti (self-published media) articles, to argue that cinema offers a corrective to the pat dismissals and hollow sympathy of online discussion. While Glass Children asks viewers to reconsider such casual cruelty within the film itself, Better Days’ access to wide release in the People’s Republic of China means it was subject to censorship and required to present an ultimately reassuring message about government action taken to ameliorate issues of bullying and suicide. Yet, when Better Days becomes an online news item in its own right, the normative position of the film text is reopened for further consideration.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"15 1","pages":"158 - 163"},"PeriodicalIF":0.3,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44849834","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}

引用次数: 0

Lapian (拉片): The disseminated professionalism and the co-constituted world 拉比安:传播的专业主义与共构成的世界

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-09-02 DOI: 10.1080/17508061.2021.1989842

Chaorong Hua

{"title":"Lapian (拉片): The disseminated professionalism and the co-constituted world","authors":"Chaorong Hua","doi":"10.1080/17508061.2021.1989842","DOIUrl":"https://doi.org/10.1080/17508061.2021.1989842","url":null,"abstract":"Abstract Current Chinese cinephilia has developed an obsession with what is known as lapian, a practice that consists of scholarly or professional analysis of films and a fascination with cinematic details both textual and inter-textual. What can be discerned through such a phenomenon are not only Chinese film aficionados’ love for cinema and movie going, but also their aspiration to participate in and contribute to the nation’s emerging film culture. Having originated in classrooms at Beijing Film Academy around 1958, lapian has been disseminated to the country’s myriad of film communities; together with it, is the professionalism of engaging films. Enabled by fan-based platforms on the Internet (especially social networking sites such as Douban, Mtime, and Wechat public accounts), the tactile nature in lapian broke down the barrier between professional film critics (as well as scholars) and ordinary film lovers. On the one hand, the proliferation of lapian among common viewers produces a discourse that competes with professional criticisms in China. Unlike the implicit elitism that pervaded the pre-Internet world of cinephilia (as well as its lapian practices), current Chinese film communities have appropriated the professionalism of film criticism for co-constituting a cinematic world that involves a greater population of film viewers. On the other hand, opportunities to comment on and discuss films on these more democratic platforms without formal qualification (such as certification of the author’s accomplished status in traditional journalism) encourages younger generations to pursue their dreams of filmmaking, film criticism, and film scholarship, which could seem impossible to them. Hence, lapian prepares the greater number of cinephiles to be not only involved in the film world but also actively constituting it.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"15 1","pages":"139 - 147"},"PeriodicalIF":0.3,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46110132","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}

引用次数: 0

A scholarly roundtable part II Bérénice Reynaud: ‘The love of cinema is also the love of encountering people’ 学术性圆桌会议第二部分:bassarimes Reynaud:对电影的热爱也是对与人接触的热爱

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-09-02 DOI: 10.1080/17508061.2021.2002615

B. Reynaud

{"title":"A scholarly roundtable part II Bérénice Reynaud: ‘The love of cinema is also the love of encountering people’","authors":"B. Reynaud","doi":"10.1080/17508061.2021.2002615","DOIUrl":"https://doi.org/10.1080/17508061.2021.2002615","url":null,"abstract":"ABSTRACT A roundtable discussion organized by the JCC’s two guest co-editors, Timmy Chih-Ting Chen and Belinda Qian He, took place between early December 2020 and January 2021. Scholars from a variety of backgrounds and co-founders of two remarkable cinephilic organizations/groups (Deep Focus and DIRECT UBE) in the Chinese-speaking world were invited to share their experiences and ideas about cinema and cinephilia. The roundtable started with a virtual gathering via zoom, which initially took a roundtable form. Ten participants from six time zones continued the conversation through contributing to a Google document. The shared file afforded each participant the opportunity to partake at their own convenience, thereby enabling the roundtable to develop organically during two months. The online format thus shaped a timely attempt to experiment with the notion of roundtable during the pandemic. Divided into two parts, the roundtable revolved around how participants discussed their multiple identities, positionalities, and border-crossing experiences about cinema. Among them, Bérénice Reynaud stands out as a special guest who shared and reflected on her personal experiences as a non-Chinese and non-Chinesespeaking scholar, curator, and cinephile who has developed close connections with Chineselanguage cinemas. As the second part of the roundtable, Bérénice Reynaud’s autobiographical account is shown below.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"15 1","pages":"280 - 291"},"PeriodicalIF":0.3,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47587549","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}

引用次数: 0

Mass film criticism and its digital afterlives 大众影评及其数字化后遗症

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-09-02 DOI: 10.1080/17508061.2021.2002511

Zoe Meng Jiang

引用次数: 0

Is Loveless (2017) a film festival film on demand? 《无爱》（2017）是电影节的点播电影吗？

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-09-02 DOI: 10.1080/17508061.2021.2002612

Huanle Fenlie, B. Pu, Kai Yin, Jin Zhao, Kelly Fan, Jianqing Chen

引用次数: 0

Cinema at the table, cinema as roundtable 影院在餐桌旁，影院在圆桌旁

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-09-02 DOI: 10.1080/17508061.2021.2002606

B. He

{"title":"Cinema at the table, cinema as roundtable","authors":"B. He","doi":"10.1080/17508061.2021.2002606","DOIUrl":"https://doi.org/10.1080/17508061.2021.2002606","url":null,"abstract":"Abstract Despite its great physical or symbolic weight in the studies of architecture and design, the table, especially the roundtable in cinema—and its place in the history and historiographies of moving images—remains overlooked and undertheorized. This essay aims to provide an overview of why the notion of the roundtable is integral to our examination of global Chinese cinephilia throughout the special issue. To that end, the essay suggests the need to understand the table on and offscreen before we historicize the roundtable within the cinemascape. The relationship between cinema and the table as a spatial metaphor, a mode of framing, and as infrastructure is highlighted. Particularly important is how the roundtable stands out as a critical lens through which we create space for further historiographic thinking about cinema. In the essay, Roundtable Cinephilia is a working concept to acknowledge a variety of flexible cinephilic encounters across time, space, and scale, as well as across print, audiovisual, electronic, and digital platforms; it should also point to the possibility of reorientation through border-crossing experiences and encounters. In short, the essay recognizes the roundtable as a global intermedial genre, an analytical category particularly exemplified within and across the Chinese and Sinophone cinephile communities. Rather than how people gather or how they are seated around the roundtable, the most pressing question addressed in the essay, then, is whether we can have a roundtable, or common ground, not just around which to sit together, but also from where to stand up, leave, and reorient ourselves. Drawing on the special issue, we hope in this way to have taken steps toward enacting, more than just proposing, what cinema as roundtables can do.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"15 1","pages":"176 - 199"},"PeriodicalIF":0.3,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45258875","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}

引用次数: 0

Ziyuan (资源): Film mining and cinephilic expedition and exploitation in twenty-first century China 自源:21世纪中国的电影挖掘与电影探索与开发

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-09-02 DOI: 10.1080/17508061.2021.1989895

Jianqing Chen

{"title":"Ziyuan (资源): Film mining and cinephilic expedition and exploitation in twenty-first century China","authors":"Jianqing Chen","doi":"10.1080/17508061.2021.1989895","DOIUrl":"https://doi.org/10.1080/17508061.2021.1989895","url":null,"abstract":"Abstract This essay studies the Chinese spectators’ active releasing, searching for, and illicit sharing of imported, voluntarily subtitled, and secretly stored foreign films and videos by offering an etymological study of ziyuan (literally translated to English as ‘resource’), the most pervasively used term in the lexicon of contemporary Chinese cinephilia. Delineating the semantic shift of ziyuan from a concept of computer networking to a film and media idiom, I examine how the discursive practice of calling a digitalized film or video ‘ziyuan’ and the corresponding metadata model of representing a video by its digital identification and location information provide the mechanism both for locating and retrieving films as digital files from the Internet and for hiding them away from clear recognition and immediate access. As the neologism replacing daoban, the Chinese equivalent of ‘piracy’, ziyuan as the popular argot, I argue, rehabilitates Chinese cinephilia thriving on piracy by metaphorically reconceptualizing the global Internet as a vast reservoir and the Internet-based media files as untapped natural resources with potential use value. The common use of this term thus mounts a collective resistance to both the unequal global capitalist order and the party-state intervention in the media market by symbolically exonerating participators and beneficiaries of making, disseminating, downloading, or streaming unauthorized films of any blame or criminal charges.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"15 1","pages":"164 - 175"},"PeriodicalIF":0.3,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45475186","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}

引用次数: 1

The Disaster Artist (2017): How we appreciate bad films 《灾难艺术家》(2017):我们如何欣赏烂片

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-09-02 DOI: 10.1080/17508061.2021.2002611

Geyu Huang, Mimi John Lin, Feng Tian, Sijie Wu, B. He, Yvonne Lin, Xiaoyu Xia

{"title":"The Disaster Artist (2017): How we appreciate bad films","authors":"Geyu Huang, Mimi John Lin, Feng Tian, Sijie Wu, B. He, Yvonne Lin, Xiaoyu Xia","doi":"10.1080/17508061.2021.2002611","DOIUrl":"https://doi.org/10.1080/17508061.2021.2002611","url":null,"abstract":"Abstract The following record is an excerpt of the Deep Focus Roundtable Discussion originally published on April 3, 2018, which was part of the second round of the Chinese-language film criticism competition organized by Deep Focus. Since 2016, Deep Focus has held a Chinese-language film criticism competition that targets a young generation of cinephiles, comprising film professionals, college students, or white-collar workers in a variety of fields. The competition usually consists of three rounds. At the preliminary stage, the first-round reviewers rank submissions and select a certain number of good reviews according to their shared criteria. In the second round, the authors of those selected film reviews are randomly allocated into groups. Each group is asked to discuss an assigned film as a roundtable. Each member of the reviewing committee leading such roundtables picks one film that merits in-depth discussions from multiple perspectives, and they serve as both the facilitator and the examiner of the roundtable contest. One winner within each group is selected for the final round, during which the finalists write criticism on a single film. The roundtable “How We Appreciate Bad Films” exemplifies the importance of the roundtable format for the Deep Focus collective. Responding to the debates and controversy over The Disaster Artist (2017) among Chinese fans and cinephiles, the four participants of this competitive roundtable engage the category of “bad film” (lanpian, a Chinese term referring to box-office flops and/or aesthetically bad films) in a global context. Respectively hailing from Taiwan, Hong Kong, and mainland China, young cinephiles confront each other in an intellectual battle around one film.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"15 1","pages":"236 - 243"},"PeriodicalIF":0.3,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43236825","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}

引用次数: 0

Sampling global roundtables and Chinese cinephilic communities in the pandemic era 采样全球圆桌会议和疫情时代的中国电影爱好者社区

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-09-02 DOI: 10.1080/17508061.2021.1999965

Timmy Chih-ting Chen, B. He

引用次数: 0