| Srl | Item |
| 1 |
ID:
153389
|
|
|
|
|
| Summary/Abstract |
Much has been written about the social composition of China’s rising middle class and their political and economic stances; yet little critical attention has been paid to the visual representation of middle class sensibility in China’s neoliberal era. This article engages in a comparative reading of the actress-turned-director Xu Jinglei’s films My Father and I (2003) and Go Lala Go! (2010), and investigates how Xu’s movies both cultivate and mirror prevalent middle class sentiments by romanticizing and subtly transgressing heterosexual gender relations. It argues that the intertextual reference between Xu’s films, her stardom and social transformation not only projects the cultural aspirations and imaginaries of middle class audiences, but also illuminates the inherent affinity between middlebrow culture, gender dynamics and Chinese urban cinema.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
| 2 |
ID:
095805
|
|
|
|
|
| Publication |
2010.
|
| Summary/Abstract |
I greatly appreciate the opportunity to offer a brief rejoinder to the three thought-provoking responses to my essay based on my recent study, The Rise of the Global Imaginary. Needless to say, each response contains a number of astute observations and cogent criticisms that will serve as useful catalysts for the further development of my ongoing work on the subjective and ideational dimensions of globalization. At the same time, however, I must also confess that I spotted a few passages in these responses that seem to have missed or misconstrued my arguments. Given the obvious spatial limitations of this rejoinder, however, I cannot cover all of these points. Rather, I am forced to take the rather selective approach of focusing on what strike me as the most crucial interventions while neglecting others that might be equally worthy of comment.
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|
|