Journal of Chinese Cinemas最新文献_第6页

Rewriting history, narrating nation: The great wall inSino-US co-productions in the new millennium 改写历史，叙述民族：新千年中美合拍的长城

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2020-11-04 DOI: 10.1080/17508061.2020.1840234

Su-ching Huang

{"title":"Rewriting history, narrating nation: The great wall inSino-US co-productions in the new millennium","authors":"Su-ching Huang","doi":"10.1080/17508061.2020.1840234","DOIUrl":"https://doi.org/10.1080/17508061.2020.1840234","url":null,"abstract":"Abstract This paper compares the representations of the Great Wall of China in three Sino-US co-produced films, Shadow Magic (西洋鏡, Ann Hu胡安, 2000), Dragon Blade (天降雄師, Daniel Lee李仁港, 2015), and The Great Wall (長城, Zhang Yimou張藝謀, 2016). Instead of seeing the Great Wall as a structure that demarcates clear boundaries, I read its film representations as symptoms of anxieties over the impossibilities of maintaining well-defined borderlines. All three films employ the image of the Great Wall to serve as a metonym for the Chinese nation. They tell the story of East-West encounters to construct their own versions of Chinese identity. As each film “narrates its nation,” it engages with recorded or imagined histories to construct an alternative historiography and reconstruct a new Chinese identity. Although all of the three films begin with references to historical facts, they all take liberties and embellish historical accounts with sensationalized fantasies of cross-cultural encounters. I read such rewriting of history as an expression of the People’s Republic of China’s official policy of advancing a nationalist agenda of global domination through soft power.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"14 1","pages":"181 - 204"},"PeriodicalIF":0.3,"publicationDate":"2020-11-04","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2020.1840234","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46580371","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

Cross-cultural transactions in the film adaptation of Wolf Totem 《狼图腾》电影改编中的跨文化交流

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2020-10-30 DOI: 10.1080/17508061.2020.1839245

Yuqing Yang

{"title":"Cross-cultural transactions in the film adaptation of Wolf Totem","authors":"Yuqing Yang","doi":"10.1080/17508061.2020.1839245","DOIUrl":"https://doi.org/10.1080/17508061.2020.1839245","url":null,"abstract":"Abstract Jiang Rong’s novel Wolf Totem incited a debate over the veracity of its representation of the steppe and the Mongolian culture, which accounts for the obsession with the real in its Sino-French film adaptation. Unfolding a historical trajectory from a “war against nature” during the Cultural Revolution to the present “war of pollution,” the film delves into trans-media rendezvous with polymorphous facets of a Chinese story. The French director Jean-Jacques Annaud can be seen as the simulacra of the Westerner, an envisioned symbol the novel associates with the nomadic spirit of the Mongol in its attempts to reflect on the “weak” Chinese national character. The film fosters its interpretation of the wolf totem towards a new set of social relations through creating a loop of transcultural appropriation. As the Chinese production team anticipates a blockbuster for a global audience which evades the controversial Han viewing position of Jiang Rong’s writing, the French team’s cultural sensibilities register a European imagination of the Mongol that once dominated Eurasia. That said, the western re-territorialization of the borderland resonates with Jiang Rong’s strategy of otherness, transposing a socio-cultural anxiety onto the gendered body of the other.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"14 1","pages":"242 - 258"},"PeriodicalIF":0.3,"publicationDate":"2020-10-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2020.1839245","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42542019","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

Dislocation and displacement: An analysis of Wang Jiuliang’s Plastic China 错位与位移:王九良的《塑料中国》分析

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2020-10-22 DOI: 10.1080/17508061.2020.1834302

Jin Liu

{"title":"Dislocation and displacement: An analysis of Wang Jiuliang’s Plastic China","authors":"Jin Liu","doi":"10.1080/17508061.2020.1834302","DOIUrl":"https://doi.org/10.1080/17508061.2020.1834302","url":null,"abstract":"Abstract This essay uses the concepts of place and space to analyze Wang Jiuliang’s environmental documentary film Plastic China (2016) by examining three kinds of dislocation and displacement: the importation of Western trash to China, Yijie’s migration from Sichuan to Shandong, and Kun’s transformation from an agricultural peasant to an industrial worker in post-socialist China. Building on previous scholarship on dirt, rubbish, and ruins, the essay explores how the film’s focus on trash—“matter out of place”—sustains a critique of global consumerism, capitalism, and eco-colonialism. Cinematic features, such as the spatial imbalance the film constructs between its human subjects and the plastics processing plant where they work, are discussed. Yijie’s longing for home, a preindustrial place untouched by modernization and globalization, is evoked by the use of nondiegetic music. Her desire to go to school, a major narrative theme, is interpreted to indicate her spatialized alienation and non-locatable subjectivity as a migrant child. Although Kun is a native of the town where the processing plant stands, he experiences displacement without moving, as his hometown has been ecologically degraded and thus rendered inhabitable by the intrusion of toxic trash. Both Yijie and Kun, representing millions of Chinese peasants uprooted from the soil, are trapped in a one-way, no-return journey from place to space.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"91 1","pages":"205 - 222"},"PeriodicalIF":0.3,"publicationDate":"2020-10-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2020.1834302","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"60002790","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: 2

Men at work 工作中的男人

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2020-09-01 DOI: 10.1080/17508061.2020.1838417

Corey Byrnes

{"title":"Men at work","authors":"Corey Byrnes","doi":"10.1080/17508061.2020.1838417","DOIUrl":"https://doi.org/10.1080/17508061.2020.1838417","url":null,"abstract":"Abstract Much has been written about the evolution of the “New Chinese Documentary Film Movement”—its shift from public and implicitly political topics to a more private and politically agnostic position, its embrace of digital video, its relationship with narrative film. Throughout these changes and the academic discourses that interpret them, two themes have remained constant: First, a sense of reality as something occluded and difficult to access. Documentary image making, we are told, cuts through the layers of political and societal mediation that screen everyday life from view. And second, despite a general investment in the possibility of accessing reality or truth among those who practice and write about documentary film in China, the form is generally described in richly metaphorical terms, as an unveiling or laying bare. “Men at Work” explores how the literalization of these corporeal and sartorial metaphors shapes understandings of documentary film. It argues that nudity has become a generic trait in an important subset of documentary films, where it functions as both a figure for documentary practice and a metonym for the filmmaker, while also unlocking unpredictable and heretofore under-theorized desires.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"14 1","pages":"157 - 180"},"PeriodicalIF":0.3,"publicationDate":"2020-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2020.1838417","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49512251","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 Taiwan Film and Audiovisual Institute’s Taiwanese-language cinema restoration project 台湾电影与音像学会的台湾语电影修复计划

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2020-07-20 DOI: 10.1080/17508061.2020.1781360

T. Huang

引用次数: 0

Taiyupian: A kaleidoscope of film production flashes back 太鱼篇：电影制作的万花筒回眸

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2020-07-08 DOI: 10.1080/17508061.2020.1778216

Gene-Fon Liao

引用次数: 0

Politics of the everyday: Taiwanese-language cinema of the 1950s–1960s 日常政治：五六十年代的台语电影

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2020-07-01 DOI: 10.1080/17508061.2020.1778217

Ming-yeh T. Rawnsley

引用次数: 0

A lurking ambivalence: The discourse on female taiyupian stars’ experiences in Hong Kong 一种潜藏的矛盾心理:关于香港女太极图明星经历的论述

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2020-07-01 DOI: 10.1080/17508061.2020.1780741

Chun-chi Wang

引用次数: 1

No longer bond’s girl: Historical displacements of the top female spy in 1960s taiyupian 不再是邦德的女孩:20世纪60年代太平岛顶级女间谍的历史置换

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2020-06-27 DOI: 10.1080/17508061.2020.1780006

Evelyn Shih

{"title":"No longer bond’s girl: Historical displacements of the top female spy in 1960s taiyupian","authors":"Evelyn Shih","doi":"10.1080/17508061.2020.1780006","DOIUrl":"https://doi.org/10.1080/17508061.2020.1780006","url":null,"abstract":"Abstract When the 1960s Bond craze reached Taiwan, the taiyupian produced a hugely popular new archetype: the female 007. Although the films in this sub-genre evoked Bond’s code name of 007, Bond gadgets, and high-stakes espionage, they reversed the gender of the top spy. This was dramatized in the narrative through the hidden identity of 007, who is often a glamorous female figure embedded in enemy ranks and swoops in in masked attire to save her team of agents. Meanwhile, the top male spy remains in the dark and believes it is his role to take responsibility for the team. Often 007’s lover, he is ultimately proved incompetent and dependent upon her prowess as top spy; his role, too, is a reversal of gender and agency. This paper explores the cinematic history and context for this gender irony. With close readings of 1964’s Female Agent No.7 and The Best Secret Agent, I argue that the female action lead had a radically different meaning in taiyupian as compared to British and American cinemas, or even other Sinophone and East Asian cinemas, due to its resonance with a specifically Taiwanese narrative of historical redemption. Furthermore, the reversal of 007’s gender points to the taiyupian’s sense of irony regarding its marginal status among other cinemas, and its embrace of the element of surprise inherent in the outsider’s role.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"14 1","pages":"115 - 126"},"PeriodicalIF":0.3,"publicationDate":"2020-06-27","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2020.1780006","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44285514","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

Colour glass ceiling: The life and death of Taiwanese-language cinema 彩色玻璃天花板：台语电影的生与死

IF 0.3 3区艺术学

Journal of Chinese Cinemas Pub Date : 2020-06-22 DOI: 10.1080/17508061.2020.1780010

Chih-Heng Su

{"title":"Colour glass ceiling: The life and death of Taiwanese-language cinema","authors":"Chih-Heng Su","doi":"10.1080/17508061.2020.1780010","DOIUrl":"https://doi.org/10.1080/17508061.2020.1780010","url":null,"abstract":"Abstract Why are there less than ten colour films out of 1,200 Taiwanese-language films (taiyupian)? In the late 1950s, the market for Taiwanese-language cinema was much larger than the market for Mandarin-language cinema. So, why did Taiwanese-language cinema not break into colour? How did Mandarin-language colour feature films suddenly become the mainstream of film production after 1967? With archival research and interviews, this essay argues that the émigré KMT Nationalist regime systematically promoted the production of Mandarin-language colour films and suppressed the Taiwanese-language cinema. This produced a ‘colour glass ceiling’ – a seemingly invisible barrier hindering the advancement to colour film – for Taiwanese-language cinema. Consequently, Taiwanese-language cinema suddenly died out in the 1970s due to the lack of black-and-white film stock. The essay argues that this knowledge of the unfair power imbalance between Taiwanese-language and Mandarin-language cinema changes our understanding of Taiwan film history, by highlighting not only the political economy of the technical transition to colour but also the importance of raw film stock in explaining the vicissitudes of Taiwanese-language cinema.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"14 1","pages":"76 - 87"},"PeriodicalIF":0.3,"publicationDate":"2020-06-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2020.1780010","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45649756","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