Journal of Chinese Cinemas最新文献_第5页

Twenty Two (2015): A sentimental, fast-moving consumer goods (FMCG) of the comfort women? 《二十二》（2015）：一个伤感、快速消费品（FMCG）的慰安妇？

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-09-02 DOI: 10.1080/17508061.2021.2002609

Shuoyu Li, Mecca Jing Li, Zeyuan Wu, Ruofeng Xu, Yue Huang, Xia Xiaoyu, Yvonne Lin

引用次数: 0

A scholarly roundtable with Deep Focus and DIRECTUBE 深度聚焦和DIRECTUBE的学术圆桌会议

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-09-02 DOI: 10.1080/17508061.2021.2002614

Liuying Cao, Lin Che, Timmy Chih-ting Chen, Xiaoran Chen, B. He, Zoe Meng Jiang, R. Ma, Hancheng Shen, Jin Zhao

{"title":"A scholarly roundtable with Deep Focus and DIRECTUBE","authors":"Liuying Cao, Lin Che, Timmy Chih-ting Chen, Xiaoran Chen, B. He, Zoe Meng Jiang, R. Ma, Hancheng Shen, Jin Zhao","doi":"10.1080/17508061.2021.2002614","DOIUrl":"https://doi.org/10.1080/17508061.2021.2002614","url":null,"abstract":"Abstract Co-organized by JCC’s guest editors Timmy Chen and Belinda He, a roundtable discussion took place between December 2020 and January 2021. Co-founders of two remarkable cinephilic organizations in the Chinese-speaking world (Deep Focus and DIRECTUBE) and scholars from various backgrounds were invited to share their observations and insights about cinema and cinephilia. Participants from six time zones started with a roundtable gathering via video conferencing and continued the conversation through an online document. The shared file afforded each participant the opportunity to contribute to the discussion at their own convenience, thereby enabling the roundtable to develop organically within the two-month period. The roundtable during the pandemic was a timely attempt to experiment with the notion of roundtable, whereby we appreciate and intend to keep the friction, interruption, fragmental thoughts, in-between moments, and even random diversions in the process. Such a multivocal conversation was a live event among us and remains ongoing for everyone. Part I of the roundtable, as shown below, revolves around participants’ positionalities and border-crossing experiences about cinema. In Part II, our special guest, Bérénice Reynaud recounts her cinephiliac experience of working as a non-Chinese, non-Chinese-speaking scholar and curator who has developed a special relationship to Chinese-language cinema.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"15 1","pages":"257 - 279"},"PeriodicalIF":0.3,"publicationDate":"2021-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41921227","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

Zooming in on the animated background: Mediated Dunhuang murals with design in the Conceited General 放大动画背景:居间敦煌壁画与设计在自负的将军

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-06-02 DOI: 10.1080/17508061.2021.1937871

Shasha Liu

{"title":"Zooming in on the animated background: Mediated Dunhuang murals with design in the Conceited General","authors":"Shasha Liu","doi":"10.1080/17508061.2021.1937871","DOIUrl":"https://doi.org/10.1080/17508061.2021.1937871","url":null,"abstract":"Abstract The Conceited General (directed by Te Wei, 1956) is widely celebrated as the first Chinese animation to represent a national style (minzu fengge). Taking a closer look, the ‘national style’ manifested in this film also refers to specific zaojing murals at Dunhuang rather than Peking Opera art or a traditional painting technique alone as discussed by existing scholarship. Analysing the Dunhuang background design, the film presents a visual referencing to Dunhuang murals through a process of complex mediation. This paper seeks to trace the history of adaptations of Dunhuang murals manifested in this case. It points to the cultural-historical journey in which zaojing was transformed from architectural-based murals into two-dimensional images that highlight geometrical patterns, and eventually entered the animation as cultural objects. Approaching animation from the perspective of animated background and in an intermedia context, this paper complicates the understanding of the national style and recontextualizes Chinese animation in the long-neglected history of design, both graphic and industrial.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"15 1","pages":"22 - 38"},"PeriodicalIF":0.3,"publicationDate":"2021-06-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2021.1937871","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48416526","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

Critical formation of Hong Kong noir: Historiographical and methodological reflections 香港黑色文学的批判形成:史学与方法论的反思

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-05-25 DOI: 10.1080/17508061.2021.1935035

Yi Sun

{"title":"Critical formation of Hong Kong noir: Historiographical and methodological reflections","authors":"Yi Sun","doi":"10.1080/17508061.2021.1935035","DOIUrl":"https://doi.org/10.1080/17508061.2021.1935035","url":null,"abstract":"Abstract The critical formation of Hong Kong noir has been a conspicuous and ever-growing thread running through the scholarship on Hong Kong cinema for some time. This essay charts the history of and methodological grounds for the critical formation of Hong Kong noir, while providing historiographical reflections more generally on the field of Hong Kong cinema studies and on the tantalizing idea of a global film history. Dividing the history of the critical formation of Hong Kong noir into two phases, this essay discusses the development of Hong Kong noir as a critical category from ‘Kowloon Noir’ and ‘Tsim Sha Tsui noir’ to ‘Hong Kong neo-noir’ and ‘Hong Kong noir’ in conceptual terms. It also reflects on the methodological shifts in the study of noir-esque Hong Kong films from synchronic to diachronic approaches, from the perspective of localism to that of world film history, and from auteurism and reflectionism to historical poetics. In particular, it suggests that a wider application of the problem/solution perspective, which emerged in the second phase of this history, is imperative to fill gaps and correct misunderstandings in narrations of Hong Kong noir.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"15 1","pages":"39 - 55"},"PeriodicalIF":0.3,"publicationDate":"2021-05-25","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2021.1935035","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48224540","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

“Yesterday once more:” IP film, phantom/fandom of music, and the youthful (re)turn of Chinese cinema in the age of new digital media “昨天又一次：”IP电影，音乐的幻影/粉丝，以及新数字媒体时代中国电影的年轻化（重新）转向

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-05-12 DOI: 10.1080/17508061.2021.1927419

Ying-ying Xiao

{"title":"“Yesterday once more:” IP film, phantom/fandom of music, and the youthful (re)turn of Chinese cinema in the age of new digital media","authors":"Ying-ying Xiao","doi":"10.1080/17508061.2021.1927419","DOIUrl":"https://doi.org/10.1080/17508061.2021.1927419","url":null,"abstract":"Abstract China in the second decade of the twenty-first century has seen an upsurge of coming-of-age cinematic narratives by a cohort of Millennial filmmakers—referenced in Chinese discursively as the post-1970s or post-1980s Generation. Heralded by Zhao Wei’s So Young (one of the highest grossing films in 2013), these productions feature many thematic and formal aspects of the Bildungsroman genre. Such generic features as retrospective narration and a storyline that chronicle the physical, psychological, and intellectual growth of the protagonists from youth to adulthood are employed to explore broader social-cultural transformations of China in the late twentieth and early twenty-first centuries. My paper examines the ascendance of the Chinese Millennial narrative (qingchun pian) and its distinguishing formal qualities symptomatic of intersectionality and intermediality that also define IP film in the new century and in the wake of new digital media. Through a close analysis of such examples as Lu Gengxu’s Forever Young (2014) and Rene Liu’s Us and Them (2018), the essay reengages and reinterprets critical discourses of Bildungsroman, nostalgia, and heterotopia by placing them in a specific contemporary Chinese context. Moreover, the subgenre/cross-genre’s appeal across a broad audience and generation not only derives from its visual effects, the existing literary, theatrical resources and fanbase but also from its soundtrack and musical imagination. With a second focus on film music, the article illustrates how the creative, intricate employment and remix of Cantopop, Mandapop, Chinese campus folklore and rock music in the films represent youthfulness, authenticity, and the (ideal) past and selfhood as opposed to an alienated, postmodern reality. The contrast creates a heterotopian spatiotemporality on screen and articulates a distinctly Chinese Bildungsroman that engages with the complex, rapidly transforming network of Chinese media ecology.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"15 1","pages":"87 - 103"},"PeriodicalIF":0.3,"publicationDate":"2021-05-12","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2021.1927419","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45654945","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: 3

Interstitial filmmaking, spatial displacement and quasi-family ties in Postcards from the Zoo (2012) 《动物园明信片》中的间隙电影制作、空间位移和准家庭关系（2012）

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-05-06 DOI: 10.1080/17508061.2021.1926155

M. Teo

{"title":"Interstitial filmmaking, spatial displacement and quasi-family ties in Postcards from the Zoo (2012)","authors":"M. Teo","doi":"10.1080/17508061.2021.1926155","DOIUrl":"https://doi.org/10.1080/17508061.2021.1926155","url":null,"abstract":"Abstract This article examines Chinese Indonesian filmmaker, Edwin’s feature film, Postcards from the Zoo (2012). The lifting of the media regulations and the resurgence of Chinese identity in the reformasi era, a period after the downfall of Suharto’s government (1966–1998), transformed the filmmaking scene in Indonesia. A young Chinese Indonesian filmmaker, Edwin emerged to take part in independent filmmaking. This article takes into consideration the filmmaker’s ethnic Chinese background and the complexity of his hybrid identity and sense of in-betweenness, which plays an important role in structuring his cinematic practice. Through a close textual analysis of the film, the article interrogates the questions of spatial displacement and the potential of forging quasi-family ties that are not based on ethnic or racial identity. The discussion also focuses on the interstitial mode of production that evidenced through the multiple funding sources received by the film and the various roles the filmmaker plays in the productions. The film, Postcards from the Zoo (2012) shows Edwin works within an interstitial mode of production and, more specifically, the adoption of, what Hamid Naficy has called, “chronotopes of imagined homeland”. This article provides a more in-depth examination of the concept in an attempt to analyse the notion of spatial displacement and interstitiality in Edwin’s filmmaking.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"15 1","pages":"56 - 72"},"PeriodicalIF":0.3,"publicationDate":"2021-05-06","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2021.1926155","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45900436","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

The era of baokuan films: How Chinese social media creates box office successes 宝宽电影时代:中国社交媒体如何创造票房成功

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-05-05 DOI: 10.1080/17508061.2021.1926153

Xiao Yang

引用次数: 1

Spectralizing the White Terror: Horror, Trauma, and the Ghost-Island Narrative in Detention 白色恐怖的幽灵化:拘留中的恐怖、创伤和鬼岛叙事

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-05-05 DOI: 10.1080/17508061.2021.1926156

Chia-rong Wu

{"title":"Spectralizing the White Terror: Horror, Trauma, and the Ghost-Island Narrative in Detention","authors":"Chia-rong Wu","doi":"10.1080/17508061.2021.1926156","DOIUrl":"https://doi.org/10.1080/17508061.2021.1926156","url":null,"abstract":"Abstract This article treats the Detention franchise as a cultural phenomenon from three interrelated angles. First, this article examines the historical significance and political reconstruction of the White Terror in response to the development and adaptation of Detention, while taking into account its multi-layered source material in history, cult culture, literature, and cinema. Historically bound, Detention blends foreign and local horror, fostering the gamers’ and viewers’ imagination of darkness embedded in the realm of the unknown and the dead. Second, this article brings into focus the mix of historical pain and horror genre with respect to the ghostly youth and monstrous past in Detention. The digital and cinematic remakes of the White Terror mediate the unaccountable trauma via the techno-enhanced immersive horror across screens. This unique strategy speaks to the gamers and spectators alike, especially the young generation, with profundity in the new age of entertainment. Third, this article identifies Detention as a political allegory in relation to the socio-cultural anxieties shared by the majority of the Taiwanese subjects in the contemporary era. In a political light, it not only echoes the ongoing campaign of transitional justice as promoted by the ruling Democratic Progressive Party (DPP) on the island, but also points to the universal pursuit of freedom and democracy against any totalitarian regime in the twenty-first century.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"15 1","pages":"73 - 86"},"PeriodicalIF":0.3,"publicationDate":"2021-05-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2021.1926156","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43184944","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

Wishful images: Three cinematographic portraits of a national film company 愿望的图像：一家国家电影公司的三幅电影肖像

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2021-02-23 DOI: 10.1080/17508061.2021.1926637

Anne Kerlan

{"title":"Wishful images: Three cinematographic portraits of a national film company","authors":"Anne Kerlan","doi":"10.1080/17508061.2021.1926637","DOIUrl":"https://doi.org/10.1080/17508061.2021.1926637","url":null,"abstract":"Abstract This paper explores how the Lianhua Film Company, founded in 1930 and active until 1937, communicated its identity and project through its films. These drama films offered an idealized portrait of the movie world and the Chinese society, revealing how the company’s members defined their role in a society looking to build a national identity. The paper focuses on three films: Two Stars of the Milky Way (1931) was a cinematographic interpretation of the founding statement of the company and depicts the company’s utopia. Lianhua’s Symphony (1936), composed of eight shorts, was a patriotic call to resist the Japanese enemy. A Sea of Talents (1937) was produced in the final days of Lianhua, just before the Japanese invasion. It offers a portrait of the artistic world disillusioned and far from patriotic anxieties. These films, analysed here alongside written sources, draw a portrait of the company both as it wanted to be seen and as it actually was. Studying them illuminates the hopes, battles and disillusions of a world of professionals who projected on the screen theirs visions, sometimes conflicting, of a stronger and unified Nation.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"15 1","pages":"1 - 21"},"PeriodicalIF":0.3,"publicationDate":"2021-02-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2021.1926637","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45663115","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

Murderous shadows, terrifying air: Dr. Caligari in China 凶残的阴影，可怕的空气:中国的卡利加里博士

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2020-11-04 DOI: 10.1080/17508061.2020.1837572

Tim Shao-Hung Teng

引用次数: 1