{"title":"12. Mapping Regional Ambivalence and Anxieties in They Call Her… Cleopatra Wong","authors":"Sophia Siddique","doi":"10.2307/j.ctv15d805m.18","DOIUrl":null,"url":null,"abstract":"They Call Her… Cleopatra Wong (Bobby A. Suarez, 1978) has been\n contextualized within film scholarship as a transnational text, a cult\n product, a canonical text of exploitation cinema and a key work within\n the Asian spy genre. This chapter argues that the film contributes to the\n ways in which popular culture negotiated political and economic tensions\n surrounding the development and presence of ASEAN since it was founded\n in 1967. One such tension revolved around striking a delicate balance\n between regional cooperation and the recognition of national sovereignty.\n Using Kristin Thompson’s framework of cinematic excess, I argue that the\n film imagines and images this tension by positioning Wong as the force\n which reifies the primacy of ASEAN, while the film’s representation of\n landscapes foregrounds and privileges national specificity.","PeriodicalId":210445,"journal":{"name":"Southeast Asia on Screen","volume":null,"pages":null},"PeriodicalIF":0.0000,"publicationDate":"2020-08-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":null,"platform":"Semanticscholar","paperid":null,"PeriodicalName":"Southeast Asia on Screen","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.2307/j.ctv15d805m.18","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"","JCRName":"","Score":null,"Total":0}
引用次数: 0
Abstract
They Call Her… Cleopatra Wong (Bobby A. Suarez, 1978) has been
contextualized within film scholarship as a transnational text, a cult
product, a canonical text of exploitation cinema and a key work within
the Asian spy genre. This chapter argues that the film contributes to the
ways in which popular culture negotiated political and economic tensions
surrounding the development and presence of ASEAN since it was founded
in 1967. One such tension revolved around striking a delicate balance
between regional cooperation and the recognition of national sovereignty.
Using Kristin Thompson’s framework of cinematic excess, I argue that the
film imagines and images this tension by positioning Wong as the force
which reifies the primacy of ASEAN, while the film’s representation of
landscapes foregrounds and privileges national specificity.
《埃及艳后王》(Bobby a . Suarez, 1978)在电影学界被语境化为跨国文本、cult产品、剥削电影的规范文本和亚洲间谍类型的关键作品。本章认为,自1967年东盟成立以来,流行文化在围绕其发展和存在的政治和经济紧张局势中做出了贡献。其中一种紧张关系围绕着如何在区域合作和承认国家主权之间取得微妙的平衡。利用克里斯汀·汤普森电影过度的框架,我认为这部电影通过将王菲定位为体现东盟首要地位的力量来想象和形象这种紧张关系,而电影对风景前景的表现和对国家特殊性的特权。