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Cinema archives memories, conserves the past, and rewrites histories. As much as the Sinophone embodies differences, contemporary Sinophone cinemas in Taiwan, Hong Kong, and the People’s Republic of China invest various images of contested politics in order to assert different histories and self-consciousness. As such, Sinophone cinemas and image production function as archives, with the capability of reinterpreting the multiple dimensions of past and present. The Politics of Memory in Sinophone Cinemas and Image Culture investigates Sinophone films and art projects that express this desire for archiving and reconfiguring the past. Comprising ten chapters, this book brings together contributors from an array of disciplines - artists, filmmakers, curators, film critics, and literary scholars - to grapple with the creative ambiguities of Sinophone cinemas and image culture. Blending eclectic methods of scholarly research, knowledge-making, and art-making into a new discursive space, the chapters address the diverse complexities of the cinematic culture and image production in Sinitic language regions. This book is a valuable resource for students and scholars of film studies, China studies, East Asian studies, Taiwan studies, and Sinophone studies, as well as professionals who work in the film industry.
As a broad category of identity, “transgender” has given life to a vibrant field of academic research since the 1990s. Yet the Western origins of the field have tended to limit its cross-cultural scope. Howard Chiang proposes a new paradigm for doing transgender history in which geopolitics assumes central importance. Defined as the antidote to transphobia, transtopia challenges a minoritarian view of transgender experience and makes room for the variability of transness on a historical continuum. Against the backdrop of the Sinophone Pacific, Chiang argues that the concept of transgender identity must be rethought beyond a purely Western frame. At the same time, he challenges China-centrism in the study of East Asian gender and sexual configurations. Chiang brings Sinophone studies to bear on trans theory to deconstruct the ways in which sexual normativity and Chinese imperialism have been produced through one another. Grounded in an eclectic range of sources—from the archives of sexology to press reports of intersexuality, films about castration, and records of social activism—this book reorients anti-transphobic inquiry at the crossroads of area studies, medical humanities, and queer theory. Timely and provocative, Transtopia in the Sinophone Pacific highlights the urgency of interdisciplinary knowledge in debates over the promise and future of human diversity.
This revised and updated new edition provides a comprehensive introduction to the history of cinema in mainland China, Hong Kong and Taiwan, as well as to disaporic and transnational Chinese film-making, from the beginnings of cinema to the present day. Chapters by leading international scholars are grouped in thematic sections addressing key historical periods, film movements, genres, stars and auteurs, and the industrial and technological contexts of cinema in Greater China.
The Assassin tells the story of a swordswoman who refrains from killing. Hou Hsiao-hsien astonishes his audience once again by upsetting almost every convention of the wuxia (martial arts) genre in the film. This collection offers eleven readings, each as original and thought-provoking as the film itself, beginning with one given by the director himself. Contributors analyze the elliptical way of storytelling, Hou’s adaptation of the source text (a tale from the Tang dynasty, also included in this volume), the film’s appropriation of traditional Chinese visual aesthetics, as well as the concept of xia (knight-errant) that is embedded in Confucian, Daoist, and Buddhist worldviews. There are also discussions of the much-celebrated sonic design of The Assassin: the nearly exclusive use of a diegetic film score is a statement on the director’s belief in cinematic reality. Underlying all the chapters is a focus on how Hou reinvents Tang-dynasty China in contemporary culture. The meticulously recreated everyday reality of the Tang world in the film highlights the ethnic and cultural diversity of the dynasty. It was a time when Sogdian traders acted as important intermediaries between Central Asia and the Tang court, and as a result Sogdian culture permeated the society. Taking note of the vibrant hybridity of Tang culture in the film, this volume shows that the historical openness to non-Chinese elements is in fact an essential part of the Chineseness expressed in Hou’s work. The Assassin is a gateway to the remote Tang-dynasty world, but in Hou’s hands the concerns of that premodern world turn out to be highly relevant to the world of the audience. “This book promises to be a useful companion to the film The Assassin. Contributors to this collection have convincingly and compellingly elucidated some of the film’s most difficult features. The result is a rich and wide-ranging analysis of one of the most beautiful films of our time.” —Sung-Sheng Yvonne Chang, The University of Texas at Austin “This collection of essays unfolds the many layers of The Assassin by speaking to its aesthetic achievements, reinvention of genre conventions, deep historical engagement, and philosophical substance. It exceeds the sum of its individual parts by building a vibrant cross-disciplinary conversation among a diverse group of accomplished scholars, who contribute original and compelling insights on the film.” —Jean Ma, Stanford University
This book provides an overview of the growing field of screenwriting research and is essential reading for both those new to the field and established screenwriting scholars. It covers topics and concepts central to the study of screenwriting and the screenplay in relation to film, television, web series, animation, games and other interactive media, and includes a range of approaches, from theoretical perspectives to in-depth case studies. 44 scholars from around the globe demonstrate the range and depths of this new and expanding area of study. As the chapters of this Handbook demonstrate, shifting the focus from the finished film to the process of screenwriting and the text of the screenplay facilitates valuable new insights. This Handbook is the first of its kind, an indispensable compendium for both academics and practitioners.
Fighting Stars provides a rich and diverse account of the emergence and legacies of Hong Kong martial arts cinema stars. Tracing the meanings and influence of stars such as Bruce Lee, Jackie Chan, Michelle Yeoh, Jet Li, Zhang Ziyi , and Donnie Yen against the shifting backdrops of the Hong Kong film industry, the contributors to this important volume highlight martial arts stars' cultural reach, both on a local and global scale. Each of the chapters, written by a host of renowned international scholars, focuses on an individual film star, considering issues such as martial arts practices and philosophies, gender and age, national identities and conflicts, cinematic genres and aesthetic choices in order to understand their local and transnational cultural influence.
How can Japanese popular culture gain numerous fans in China, despite pervasive anti-Japanese sentiment? How is it that there’s such a strong anti-Korean sentiment in Chinese online fan communities when the official Sino-Korean relationship is quite stable before 2016? Avid fans in China are raising hundreds of thousands of dollars in funding to make gifts to their idols in foreign countries. Tabloid reports on Japanese and Korean celebrities have been known to trigger nationalist protests in China. So, what is the relationship between Chinese fandom of Japanese and Korean popular culture and nationalist sentiment among Chinese youth? Chen discusses how Chinese fans of Japanese and Korean popular culture have formed their own nationalistic discourse since the 1990s. She argues that, as nationalism is constructed from various entangled ideologies, narratives, myths and collective memories, popular culture simply becomes another resource for the construction of nationalism. Fans thus actively select, interpret and reproduce the content of cultural products to suit their own ends. Unlike existing works, which focus on the content of transnational cultural flows in East Asia, this book focuses on the reception and interpretation of the Chinese audience.
In recent years, Corporate Social Responsibility (CSR) reporting in China has been experiencing a rapid development and the number of social reports issued by Chinese enterprises shows a sharp increasing trend. This book investigates the evolution of such reporting practice in the country and the reasons behind it. In addition, it also examines the reporting quantity and quality of Chinese enterprises by applying the GRI (Global Reporting Initiative) as an evaluation tool. In response to policy documents so as to obtain the government’s recognition and to strive for more resources, state-owned enterprises, private enterprises and foreign-invested companies have made substantial efforts in social reporting in terms of quantity and coverage. However, it appears that there is still room for enhancing the quality of disclosure. The book also highlights the central government’s economic, political and social roles in promoting, encouraging and controlling the development of CSR reporting.
Hong Kong’s ‘Umbrella Revolution’ has been widely regarded as a watershed moment in the polity’s post-1997 history. While public protest has long been a routine part of Hong Kong’s political culture, the preparedness of large numbers of citizens to participate in civil disobedience represented a new moment for Hong Kong society, reflecting both a very high level of politicisation and a deteriorating relationship with Beijing. The transformative processes underpinning the dramatic events of autumn 2014 have a wide relevance to scholarly debates on Hong Kong, China and the changing contours of world politics today. This book provides an accessible entry point into the political and social cleavages that underpinned, and were expressed through, the Umbrella Movement. A key focus is the societal context and issues that have led to growth in a Hong Kong identity and how this became highly politically charged during the Umbrella Movement. It is widely recognised that political and ethnic identity has become a key cleavage in Hong Kong society. But there is little agreement amongst citizens about what it means to ‘be Hong Konger’ today or whether this identity is compatible or conflicting with ‘being Chinese’. The book locates these identity cleavages within their historical context and uses a range of theories to understand these processes, including theories of nationalism, social identity, ethnic conflict, nativism and cosmopolitanism. This theoretical plurality allows the reader to see the new localism in its full diversity and complexity and to reflect on the evolving nature of Hong Kong’s relationship with Mainland China.
How emerging adults, broadly referring to those aged from 18 to 29 years old, fare in civic engagement, as compared with other adults is the focus of the present work. The work takes civic engagement to comprise prosociality in civil society, sustaining social institutions, and challenging institutions. Delineating a theoretical framework based on voluntaristic theory, the work expects to find differences in civic engagement due to the voluntaristic mechanisms of power realization, utilitarian optimization, normative conformity, and idealistic consistency maintenance in the emerging adult, as compared with the other. Using survey data from 25,878 Chinese adults in Hong Kong, the work illustrates that the emerging adult is higher than is the other in challenging social institutions, notably in terms radicalism and occupying protest. Moreover, the emerging adult is less prosocial in terms in community participation. Meanwhile, the emerging adult is not consistently different from the other in sustaining social institutions. The findings are crucial, given the control various background characteristics, including age, education, marriage, and employment. These findings are therefore useful for illustrating social forces postulated in voluntaristic theory for explaining civic engagement.