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ID:
099766
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2010.
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| Summary/Abstract |
This articale introduces a body of south Korean flims from the 1960's known collectiviety under the subgenre of Manchurian action flim and examines its ambivalant respresentation of anticolonial nationalism. Set in Manchuria during the colonial period (1910-1945), these films conventionally portray Korean nationalists armed struggle against the Japanese imperial force.This artical attempts to contextualize South Korea
Manchurian action flim first by relating the genre to Korea's modern historical dicourse of Manchuria and soucial memory of the Korean diapora experience
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| 2 |
ID:
099770
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2010.
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| Summary/Abstract |
This article with an observation of the imitations of Asian Cinematic aesthetics, especially John Woo's aesthetics of violence, in Contemporary Hollywood. The author points outs the fallacy of the binary between Hollywood filmmakers usually perceives as fantastic/other worldly in the Asian elements. The author uses John Woo as the primary example of Global affective cinema which not only features qing (feeling, affects, love) thematically but also relies on qing the guiding principle to intensify the emotional and effective power.
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| 3 |
ID:
099772
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2010.
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| Summary/Abstract |
This essay examines fruit Chan's 2004 horror film Dumplings which uses cannibalism as a metaphor for Chinese tradition. In this respect, the film has inherited Lu Xun's criticism of Chinese tradition in his "diary of Madman" at the beginning of the 20th century. This tradition however has been changed radically through the modernization process. Dumplings present contemporary Chinese culture as a hybrid combination, which has been transformed not only by Maoist legacy but also by the powerful influence of global capitalism.
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| 4 |
ID:
099764
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This essay argues that the Japanese cinema of the studio era, roughly from 1930 to 1960, should be considered as a "classical cinema" that occurred in parallel fashion to classical Hollywood cinema, which flourished during the same period. It is important to shift the discussion from the terms of an art cinema to those of a popular industrial cinema to fully understand the potential influence of Japanese cinema in Asia and globally as a body of Films recycled on broadcast TV and DVD Formats
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| 5 |
ID:
099769
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2010.
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| Summary/Abstract |
This essay questions the conceptual pertinence of globalization in analyzing the fast growing culture exchanges across east and south East Asia. Critiquing the theoretical backbone of globalization, it proposes a shift to cultural regionalization as an interpretive framework suited to emergent culture topographies of the region. The essay then details the major attributes of culture regionalization by introducing what might be termed the East Asian culture sphere, a temporary crystallization of East Asian culture interdynamics that has emerged in the post cold war juncture and continues to evolve to date. In an attempt to give concrete picture s of both culture regionalization and east Asian culture Sphere, the essay broaches the instance of Hallyu, the Korean wave, a culture crosscurrent arising from the collision of two opposing waves the escalation of political tension based on post/colonial feuds, which remained largely unaddressed during the cold war period, on one hand and the sweeping economic integration and collaboration of east Asia on the other
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| 6 |
ID:
099768
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Fall 2010.
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This essay aims to rethink and remap contemporary Chinese cinema studies. In Past few years there have been many new developments and experiments in the films scenes of mainland China, Taiwan and Hong Kong, and the Chinese film industries are undergoing dramatic restructuring. The author argues for an understanding of "Chinese cinema" in close reference to the recent advent of global cinema. Such understanding also has to take into account the internal stratification among various film practices no longer organized only according to its specific culture
Geography (mainland, Taiwan, and Hong-Kong) but also according to different modes of Filmmaking and different sectors.
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| 7 |
ID:
099765
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| 8 |
ID:
099767
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| Publication |
2010.
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| Summary/Abstract |
The essay deals with ethnic excess through the dynamic of self other relationships in China's films about ethnic minorities. As the notion of social harmony becomes the defining discourse of Chinese policy in the 21st century, its repercussions can be found in the cinematic treatments of the ethnic other. A different handling of the ethnic or foreign other in some recent productions could be related to China's consciousness of its new social relations.
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| 9 |
ID:
099771
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| Publication |
2010.
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| Summary/Abstract |
The world offers a unique occasion to think of globalizations process as entrapment. the setting a Disney like theme park, allows for a powerful critical allegory of globalization. It is a non place a paradoxical theatre of the characters effects to form community. As underlined by Jia Zhangke in an interview, economic growth has introduced into the everyday life of the Chinese a constellation of "shows" "sort of like economic bubbles, filling up every sector of our lives". The author aims to show how The World works as a cinematic extension of this observation, by making us enter into the ob-scene conditions of production of the global spectacle and by showing its repercussions at the level of being together. The central idea of this article is to present the world as a practice of non-place and a unilaterizing itinerary for the existential malaise linked to the capitalist total mobilization. The author examines how the world can contribute to a collective demobilization through the production of a claustrophobic effect on the audience
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