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Serial authentication: Gamifying Hong Kong action cinema in Sleeping Dogs 系列认证：《睡狗》中香港动作电影的游戏化
IF 0.3 3区 艺术学
Journal of Chinese Cinemas Pub Date : 2019-01-02 DOI: 10.1080/17508061.2019.1591745
Jason G. Coe
{"title":"Serial authentication: Gamifying Hong Kong action cinema in Sleeping Dogs","authors":"Jason G. Coe","doi":"10.1080/17508061.2019.1591745","DOIUrl":"https://doi.org/10.1080/17508061.2019.1591745","url":null,"abstract":"Abstract This essay investigates how the open-world action adventure video game Sleeping Dogs constructs cultural authenticity as a feature of its narration and digital game play. Not only does the game avoid accusations of racial insensitivity but also producers and fans promote the game as an ‘authentic’ Hong Kong experience. Using digital seriality to analyze Sleeping Dogs, which occupies a fertile intersection between game studies and film studies, I argue that Sleeping Dogs justifies its appropriation of Hong Kong action cinema by subjecting the player to serial authentication.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"13 1","pages":"26 - 41"},"PeriodicalIF":0.3,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2019.1591745","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43476818","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
Hong Kong leftist cinema in the Cold War era: In-betweenness, sensational success and censorship 冷战时期的香港左派电影:中庸、轰动与审查
IF 0.3 3区 艺术学
Journal of Chinese Cinemas Pub Date : 2019-01-02 DOI: 10.1080/17508061.2019.1591750
Y. Du
{"title":"Hong Kong leftist cinema in the Cold War era: In-betweenness, sensational success and censorship","authors":"Y. Du","doi":"10.1080/17508061.2019.1591750","DOIUrl":"https://doi.org/10.1080/17508061.2019.1591750","url":null,"abstract":"Abstract Using Shanghai archives supplemented by US and Hong Kong archives, this paper explores the complex circumstances of Hong Kong’s leftist cinema – from its cultural identification to its production and distribution – within the PRC’s context of both tightening and sometimes relaxing its controls over films, and the international context of the cinematic Cold War between mainland China, the United States and Taiwan. It shows how Hong Kong’s leftist cinema built up an ‘in-between’ identity by conflating entertainment and edification, PRC concerns and the Hong Kong experience, and how it struggled to survive the multiple political confinements imposed by the Hong Kong government and the US and Taiwanese powers in Hong Kong, and the PRC’s periodic policies in the 1950s and 1960s. This paper argues that the dynamics of Hong Kong leftist cinema came from their dislocated position in both the socialist system/mainland China and the capitalist system/Hong Kong; meanwhile Hong Kong leftist cinemas’ difficulties lay in the border-crossing limits between the two systems.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"13 1","pages":"108 - 93"},"PeriodicalIF":0.3,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2019.1591750","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47381461","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
Film and fashion in Shanghai: What (not) to wear during the cultural revolution 上海的电影与时尚:文革期间该穿什么(不该穿什么)
IF 0.3 3区 艺术学
Journal of Chinese Cinemas Pub Date : 2019-01-02 DOI: 10.1080/17508061.2017.1422895
C. Berry, Shujuan Zhang
{"title":"Film and fashion in Shanghai: What (not) to wear during the cultural revolution","authors":"C. Berry, Shujuan Zhang","doi":"10.1080/17508061.2017.1422895","DOIUrl":"https://doi.org/10.1080/17508061.2017.1422895","url":null,"abstract":"ABSTRACT Recent scholarship has challenged the assumption that China was an ocean of drab sartorial uniformity during the Cultural Revolution decade. This essay extends this tendency by asking what role cinema played in people's choices about what to wear. Based on data gathered in group interviews in Shanghai, it finds several tendencies: revolutionary history films inspired contemporary military-style clothing, but not only for political reasons; foreign films screened during the Cultural Revolution built up a mental archive of contemporary international fashion that was drawn upon as the strictures of the era were relaxed in the 1970s; and memories of films screened before 1966 provided another mental archive of retro-fashion possibilities, also drawn on as strictures were relaxed. Overall, our research demonstrates that even though socio-political frameworks always condition individual agency, even in the most difficult of times, individual agency continues to be exercised in the interstices of everyday life.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"13 1","pages":"1 - 25"},"PeriodicalIF":0.3,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2017.1422895","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48079732","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
Archaeologies of post-socialist temporalities: Documentary experiments and the rhetoric of ruin gazing 后社会主义时代的考古学:文献实验和废墟凝视的修辞
IF 0.3 3区 艺术学
Journal of Chinese Cinemas Pub Date : 2019-01-02 DOI: 10.1080/17508061.2019.1591746
E. Y. Huang
{"title":"Archaeologies of post-socialist temporalities: Documentary experiments and the rhetoric of ruin gazing","authors":"E. Y. Huang","doi":"10.1080/17508061.2019.1591746","DOIUrl":"https://doi.org/10.1080/17508061.2019.1591746","url":null,"abstract":"Abstract Focusing on the independent documentary movement that is also a movement of digital filmmaking in China, this essay examines documentary’s mediation of post-socialist conceptions of time through digital filmmaking aesthetics, including ruin gazing, forwarding and reversing, and accelerating and decelerating film speed. In a comparative study of experimental documentaries on post-socialist temporalities in Eastern Europe and China—including the work of Chantal Akerman, Cong Feng, and Huang Weikai—the essay unravels documentary’s representation of time that illustrates the “post” as a locus of desires and anxieties, backward and forward glances that create heterogeneous relationships—with their own economy of stasis, velocity, and speed—in relation to the homogeneous and teleological time of Capital.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"13 1","pages":"42 - 60"},"PeriodicalIF":0.3,"publicationDate":"2019-01-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2019.1591746","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42019995","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
Introduction: The translation and dissemination of Chinese cinemas 简介：中国电影的翻译与传播
IF 0.3 3区 艺术学
Journal of Chinese Cinemas Pub Date : 2018-09-02 DOI: 10.1080/17508061.2018.1522805
Ha Jin
{"title":"Introduction: The translation and dissemination of Chinese cinemas","authors":"Ha Jin","doi":"10.1080/17508061.2018.1522805","DOIUrl":"https://doi.org/10.1080/17508061.2018.1522805","url":null,"abstract":"Abstract This introduction provides a brief historical overview of the translation of Chinese cinemas and explores how film translation facilitates the dissemination of Chinese films. It also gives a description of the purpose, structure, and the methodologies of the contributing articles in this special issue. Offering fresh visions and innovative studies on various important issues, including mistranslation, the dubbing of Hong Kong kung fu films, the dubbing of foreign films in China, the subtitling of Chinese dialect films, the subtitling of independent Chinese documentaries, and a vivid personal account of the translation and distribution of Chinese cinemas in France, this special issue aims to generate international dialogue by presenting diverse approaches to the translation and dissemination of Chinese cinemas.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"12 1","pages":"197 - 202"},"PeriodicalIF":0.3,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2018.1522805","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43153746","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: 9
Exchanging faces, matching voices: Dubbing foreign films in China 换面孔，配声音：在中国为外国电影配音
IF 0.3 3区 艺术学
Journal of Chinese Cinemas Pub Date : 2018-09-02 DOI: 10.1080/17508061.2018.1522802
Weijian Du
{"title":"Exchanging faces, matching voices: Dubbing foreign films in China","authors":"Weijian Du","doi":"10.1080/17508061.2018.1522802","DOIUrl":"https://doi.org/10.1080/17508061.2018.1522802","url":null,"abstract":"ABSTARCT This article is part of a larger project on dubbed foreign films, which were the Chinese people’s ‘window to the outside world’ during the Cold War era. Between 1949 and 1994, when Hollywood’s path to China was blocked by Cold War politics, the Chinese Communist Party dubbed and screened over one thousand films from the Soviet bloc, Western Europe, and beyond. In this article, I argue that despite the appearance of ventriloquism, dubbing is fundamentally analogous to Schleiermacherian literal translation in that dubbing requires bending domestic voices to match foreign lips and bodies. The Chinese dubbing practice, with its emphasis on synchrony or ‘matching voices’, produced voices within the Chinese soundscape that were uniquely ‘foreignized’ and ‘embodied’. The dubbing actors distinguished themselves from mainstream voices by focusing on the body instead of on articulated messages and emotions; their voices were rare instances of geno-voices amid the chorus of pheno-voices during the Maoist and post-Mao years. In the second part of the article, I examine ethical issues in the representation of the Other in the context of Chinese dubbed foreign films.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"12 1","pages":"285 - 299"},"PeriodicalIF":0.3,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2018.1522802","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44267938","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
I am not Madame Bovary: Felicitous mistranslation 我不是包法利夫人:幸亏误译
IF 0.3 3区 艺术学
Journal of Chinese Cinemas Pub Date : 2018-09-02 DOI: 10.1080/17508061.2018.1522808
B. Reynaud
{"title":"I am not Madame Bovary: Felicitous mistranslation","authors":"B. Reynaud","doi":"10.1080/17508061.2018.1522808","DOIUrl":"https://doi.org/10.1080/17508061.2018.1522808","url":null,"abstract":"Abstract The title of Feng Xiaogang’s 2016 film, Wo bu shi Pan Jinlian, which literally means I am not Pan Jilian, was translated as I Am Not Madame Bovary for its international release. The film’s heroine, publicly accused by her ex-husband of being a Pan Jinlian, wages a 10-year fight against the bureaucracy of her county to obtain justice. I re-examine the story of Pan Jinlian and its different versions in Chinese culture, as well as the myth of Madame Bovary and how it was translated in twentieth century China, to discuss how the mistranslation of Pan Jinlian into Madame Bovary becomes a portal for cross-cultural exchange. I am borrowing the concepts of heterotopia, écart, montage and obliqueness from the work of French Sinologist François Jullien – as well as François Cheng’s ethical considerations about a necessary dialogue between Chinese and Western cultures. As Chinese and Western thought use different categories of logic, I argue that, beyond the literal accuracy of a translation, a resonance may be created, through an oblique approach, in the mind of the reader or spectator.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"12 1","pages":"203 - 218"},"PeriodicalIF":0.3,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2018.1522808","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48493292","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 Liberty Coerced by Limitation: On Subtitling Fengming: A Chinese Memoir 被限制所迫的自由——论《凤鸣：一部中国回忆录》的字幕
IF 0.3 3区 艺术学
Journal of Chinese Cinemas Pub Date : 2018-09-02 DOI: 10.1080/17508061.2018.1522814
Akiyama Tamako
{"title":"The Liberty Coerced by Limitation: On Subtitling Fengming: A Chinese Memoir","authors":"Akiyama Tamako","doi":"10.1080/17508061.2018.1522814","DOIUrl":"https://doi.org/10.1080/17508061.2018.1522814","url":null,"abstract":"Abstract This essay steps into the long history of translation theory, which is replete with examples of translators contemplating their own work of transporting a text from one language to another and deploying metaphors to theorize the task of the translator. The author, a student of Chinese aesthetics and contemporary philosophy, is also a veteran subtitler. In this essay, she describes her own subtitling of Wang Bing’s Fengming: A Chinese Memoir. She begins with a common observation about film translation: Facing extreme limitations in space and time, subtitlers often mourn the many limitations with which they must contend and look with envy at the translators of literature, who appear so free. But the strictures of subtitling can also produce a certain kind of freedom. Akiyama’s essay uses the subtitles for Fengming to illustrate the liberatory possibilities hidden within the act of translation.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"12 1","pages":"250 - 266"},"PeriodicalIF":0.3,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2018.1522814","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41617647","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
Chinese-dialect film and its translation: A case study of The World (2004) 中国方言片及其翻译——以《世界》（2004）为例
IF 0.3 3区 艺术学
Journal of Chinese Cinemas Pub Date : 2018-09-02 DOI: 10.1080/17508061.2018.1522806
Dan Li
{"title":"Chinese-dialect film and its translation: A case study of The World (2004)","authors":"Dan Li","doi":"10.1080/17508061.2018.1522806","DOIUrl":"https://doi.org/10.1080/17508061.2018.1522806","url":null,"abstract":"Abstract Over the past few decades, China has produced a significant number of films that use dialect. Many of them have been screened in international film festivals or have been distributed in different countries. Focusing on Chinese-dialect films, this paper examines how dialects in such films are used to represent a reality often masked by a mainstream, Putonghua discourse; and how Chinese-dialect films travel cross-culturally through audiovisual translation. To address these questions, I use a case study The World (2004), a multilingual film made by Jia Zhangke, China’s most prominent art house director known for his consistent and ubiquitous use of dialects. Adopting a descriptive perspective, the case study investigates the multilingual elements of the original and translated film. It mainly focuses on the strategies adopted by the translator when dealing with multilingualism in the film, and the effects of such strategies on character and plot development in the translated version.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"12 1","pages":"267 - 284"},"PeriodicalIF":0.3,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2018.1522806","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45785388","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
Translation and distribution of Chinese films in France: A personal account* 中国电影在法国的翻译与发行*
IF 0.3 3区 艺术学
Journal of Chinese Cinemas Pub Date : 2018-09-02 DOI: 10.1080/17508061.2018.1522804
Marie-Claire Kuo
{"title":"Translation and distribution of Chinese films in France: A personal account*","authors":"Marie-Claire Kuo","doi":"10.1080/17508061.2018.1522804","DOIUrl":"https://doi.org/10.1080/17508061.2018.1522804","url":null,"abstract":"Abstract In France, the diffusion of Chinese cinema was for a very long time limited to elite cultural circles. After the May 1968 Students Movement, a large number of students signed up to learn Chinese at University Paris 7. Chinese films were screened there weekly to help these students get a better understanding of China. After China adopted its ‘Reform and Opening’ policy, several important French film festivals began to screen Chinese films. The French public began to understand the importance of Chinese cinema, but the commercial distribution of Chinese Cinema only started in the mid-1980s, after films from the Fifth Generation attracted the interest of critics and the public. French audiences remain interested in Chinese films today, especially in films by auteurs. In France, almost all important commercial films from foreign countries are dubbed. For art and auteur films, however, are screened in their original versions with subtitles. All the foreign films, even when they are dubbed, have a subtitled version, preferably produced in France and it is the same on television. This work should be done by specialists whose mother tongue is French. The way the subtitles are added to Chinese films is crucial as few French people understand the Chinese language.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"12 1","pages":"237 - 249"},"PeriodicalIF":0.3,"publicationDate":"2018-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1080/17508061.2018.1522804","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46131869","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: 5
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