Pub Date : 2021-06-30DOI: 10.3366/edinburgh/9781474460842.003.0001
K. Chan, Andrew Stuckey
This introductory chapter employs the theoretical concept of Sino-enchantment to explore the cultural, political and ideological complexities, contradictions and complicities of contemporary Chinese fantastic films. The chapter briefly maps out the history of the fantastic in Chinese cinemas and locates the contemporary resurgence of the fantastic in that historical timeline. The theoretical exploration of Sino-enchantment emphasises the playfulness inherent in fantastic cinemas, which serves as a means for audiences to find re-enchantment in a modern, disenchanted world. Finally, the chapter threads the individual key points that the separate chapters articulate into a larger theoretical framework in order for readers to understand the key appeals that contemporary Chinese films make when they deploy the fantastic in newly reconfigured ways.
{"title":"Introduction: The Fantastic as Sino-Enchantment in Contemporary Chinese Cinemas","authors":"K. Chan, Andrew Stuckey","doi":"10.3366/edinburgh/9781474460842.003.0001","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474460842.003.0001","url":null,"abstract":"This introductory chapter employs the theoretical concept of Sino-enchantment to explore the cultural, political and ideological complexities, contradictions and complicities of contemporary Chinese fantastic films. The chapter briefly maps out the history of the fantastic in Chinese cinemas and locates the contemporary resurgence of the fantastic in that historical timeline. The theoretical exploration of Sino-enchantment emphasises the playfulness inherent in fantastic cinemas, which serves as a means for audiences to find re-enchantment in a modern, disenchanted world. Finally, the chapter threads the individual key points that the separate chapters articulate into a larger theoretical framework in order for readers to understand the key appeals that contemporary Chinese films make when they deploy the fantastic in newly reconfigured ways.","PeriodicalId":273378,"journal":{"name":"Sino-Enchantment","volume":"8 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128583760","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-30DOI: 10.3366/edinburgh/9781474460842.003.0011
Mei Yang
The 2015 Chinese box-office hit, Monster Hunt, in its appropriation of classical Chinese fantasy tales, raises questions about the differences between the human and its strange other. As a successful contemporary narrative that incorporates elements from both popular culture and Chinese classics, this film has much to tell about China in the new millennium. In what specific ways does a modern society try to reconnect with the imaginative world of early China, and to what extent are domesticity (family relationships) and sentimentality, or qing (personal feelings), identified in Chinese cinemas, applicable once again to these new-fangled monster films? This essay contends that the film’s assemblage of the strange and the miraculous as captured in traditional tales and the abnormal points to the haunting monstrosity of contemporary life.
{"title":"Domesticity, Sentimentality and Otherness: The Boundary of the Human in Monster Hunt","authors":"Mei Yang","doi":"10.3366/edinburgh/9781474460842.003.0011","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474460842.003.0011","url":null,"abstract":"The 2015 Chinese box-office hit, Monster Hunt, in its appropriation of classical Chinese fantasy tales, raises questions about the differences between the human and its strange other. As a successful contemporary narrative that incorporates elements from both popular culture and Chinese classics, this film has much to tell about China in the new millennium. In what specific ways does a modern society try to reconnect with the imaginative world of early China, and to what extent are domesticity (family relationships) and sentimentality, or qing (personal feelings), identified in Chinese cinemas, applicable once again to these new-fangled monster films? This essay contends that the film’s assemblage of the strange and the miraculous as captured in traditional tales and the abnormal points to the haunting monstrosity of contemporary life.","PeriodicalId":273378,"journal":{"name":"Sino-Enchantment","volume":"1 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"122470053","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-30DOI: 10.3366/edinburgh/9781474460842.003.0009
I. Pettigrew
Among the group of Hong Kong filmmakers who have transitioned into the mainland Chinese film industry, Tsui Hark brings years of experience depicting traditional Chinese beliefs and religion in films such as Green Snake and Zu: Warriors from the Magic Mountain, thus contributing significantly to mainland China’s new fantasy-friendly market. This chapter looks closely at the director’s three Detective Dee films to demonstrate how, through collage, the films’ visual and special effects (for example, the use of qinggong in traditional wuxia literature and films) subvert their own negative narrative framing of the supernatural and religion. This is preceded by a brief discussion of the history of the representation of the supernatural and religion in Chinese cinema, followed by a review of Tsui’s related oeuvre.
{"title":"The Sacred Spectacle: Subverting Scepticism in Tsui Hark’s Detective Dee Films","authors":"I. Pettigrew","doi":"10.3366/edinburgh/9781474460842.003.0009","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474460842.003.0009","url":null,"abstract":"Among the group of Hong Kong filmmakers who have transitioned into the mainland Chinese film industry, Tsui Hark brings years of experience depicting traditional Chinese beliefs and religion in films such as Green Snake and Zu: Warriors from the Magic Mountain, thus contributing significantly to mainland China’s new fantasy-friendly market. This chapter looks closely at the director’s three Detective Dee films to demonstrate how, through collage, the films’ visual and special effects (for example, the use of qinggong in traditional wuxia literature and films) subvert their own negative narrative framing of the supernatural and religion. This is preceded by a brief discussion of the history of the representation of the supernatural and religion in Chinese cinema, followed by a review of Tsui’s related oeuvre.","PeriodicalId":273378,"journal":{"name":"Sino-Enchantment","volume":"20 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124631382","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-30DOI: 10.3366/edinburgh/9781474460842.003.0002
Jason McGrath
This chapter considers how Zhang Yimou has reimagined traditional Chinese culture and history through the use of CGI in his blockbuster film Hero (Yingxiong, 2002) and his choreography in the opening and closing ceremonies for the 2008 Beijing Olympics. It examines but refutes the accusation that he has pursued a totalitarian or fascist aesthetic by looking closely at how the ‘digital multitude’ is represented in the film and the ‘mass ornament’ is manifested in the Olympics ceremonies. Ultimately, the mass spectacles organised by Zhang tell us more about the ‘harmony’ of contemporary China with globalised capitalism than about either totalitarian aesthetics or nationalist propaganda, and they demonstrate the logic of digital labour in a globalised economy.
{"title":"Heroic Human Pixels: Mass Ornaments and Digital Multitudes in Zhang Yimou’s Spectacles","authors":"Jason McGrath","doi":"10.3366/edinburgh/9781474460842.003.0002","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474460842.003.0002","url":null,"abstract":"This chapter considers how Zhang Yimou has reimagined traditional Chinese culture and history through the use of CGI in his blockbuster film Hero (Yingxiong, 2002) and his choreography in the opening and closing ceremonies for the 2008 Beijing Olympics. It examines but refutes the accusation that he has pursued a totalitarian or fascist aesthetic by looking closely at how the ‘digital multitude’ is represented in the film and the ‘mass ornament’ is manifested in the Olympics ceremonies. Ultimately, the mass spectacles organised by Zhang tell us more about the ‘harmony’ of contemporary China with globalised capitalism than about either totalitarian aesthetics or nationalist propaganda, and they demonstrate the logic of digital labour in a globalised economy.","PeriodicalId":273378,"journal":{"name":"Sino-Enchantment","volume":"18 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"124648237","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-30DOI: 10.3366/edinburgh/9781474460842.003.0005
Andrew Stuckey
The acclaimed Taiwanese director Hou Hsiao-hsien’s 2015 film, The Assassin, is adapted from a Tang Dynasty tale that is one of the first instances in Chinese literature to describe a swordswoman. If for films such as A Touch of Zen or Crouching Tiger, Hidden Dragon the ethical dilemmas particular to a woman in the underworld of martial arts rivers and lakes are navigated by means of the visual spectacle of bodies in flight and in fight, Hou’s heroine, Nie Yinniang, is quite different. She emerges victorious over her enemies, but they are not vanquished. She maintains her own moral standards but retreats into seclusion by the end of the film. Likewise, Hou’s camera is often at such a distance that fighting sequences are as much obscured as revealed in the film. Thus, Hou’s famed style of exceedingly slow narrative presentation comes into fruitful tension with the generic conventions emphasising the fantastic elements of martial arts film. This chapter examines the reduced status of these fantastic features of the film, the way that Hou’s style naturalises and, indeed, construes them as realistic components of the narrative, and how these seemingly oppositional tactics come together to inform Nie Yinniang’s moral stance.
{"title":"The Restrained Fantastic in Hou Hsiao-hsien’s The Assassin","authors":"Andrew Stuckey","doi":"10.3366/edinburgh/9781474460842.003.0005","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474460842.003.0005","url":null,"abstract":"The acclaimed Taiwanese director Hou Hsiao-hsien’s 2015 film, The Assassin, is adapted from a Tang Dynasty tale that is one of the first instances in Chinese literature to describe a swordswoman. If for films such as A Touch of Zen or Crouching Tiger, Hidden Dragon the ethical dilemmas particular to a woman in the underworld of martial arts rivers and lakes are navigated by means of the visual spectacle of bodies in flight and in fight, Hou’s heroine, Nie Yinniang, is quite different. She emerges victorious over her enemies, but they are not vanquished. She maintains her own moral standards but retreats into seclusion by the end of the film. Likewise, Hou’s camera is often at such a distance that fighting sequences are as much obscured as revealed in the film. Thus, Hou’s famed style of exceedingly slow narrative presentation comes into fruitful tension with the generic conventions emphasising the fantastic elements of martial arts film. This chapter examines the reduced status of these fantastic features of the film, the way that Hou’s style naturalises and, indeed, construes them as realistic components of the narrative, and how these seemingly oppositional tactics come together to inform Nie Yinniang’s moral stance.","PeriodicalId":273378,"journal":{"name":"Sino-Enchantment","volume":"14 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127743514","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-30DOI: 10.3366/edinburgh/9781474460842.003.0010
Yiman Wang
This chapter studies two recent Chinese co-productions, Born in China (2016) and Wolf Totem (2015), which foreground the construction of the indexical and the fantastic wildlife in the very process of renegotiating the parameters of Chinese cinema. Navigating multilayered boundaries between ethnicities, species, and media industries, I analyse how the two films construct and address the tension between and intertwinement of the indexical and the fantastic wildlife. I describe the films’ de-anthropocentric impulse, articulated through technological mediation, as almost wild, but not quite. More specifically, I argue that Wolf Totem features ‘cultivated wildness’, while Born in China depends on ‘intercepted wildness’. Both bespeak fantastic ecocinematic consciousness without carrying it to full fruition.
{"title":"Almost Wild, But Not Quite: The Indexical and the Fantastic Animal Other in China-Co-Produced (Eco)Cinema","authors":"Yiman Wang","doi":"10.3366/edinburgh/9781474460842.003.0010","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474460842.003.0010","url":null,"abstract":"This chapter studies two recent Chinese co-productions, Born in China (2016) and Wolf Totem (2015), which foreground the construction of the indexical and the fantastic wildlife in the very process of renegotiating the parameters of Chinese cinema. Navigating multilayered boundaries between ethnicities, species, and media industries, I analyse how the two films construct and address the tension between and intertwinement of the indexical and the fantastic wildlife. I describe the films’ de-anthropocentric impulse, articulated through technological mediation, as almost wild, but not quite. More specifically, I argue that Wolf Totem features ‘cultivated wildness’, while Born in China depends on ‘intercepted wildness’. Both bespeak fantastic ecocinematic consciousness without carrying it to full fruition.","PeriodicalId":273378,"journal":{"name":"Sino-Enchantment","volume":"19 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"127160623","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-30DOI: 10.3366/edinburgh/9781474460842.003.0013
K. Chan, Andrew Stuckey
In the coda that concludes this volume, the book’s editors confront COVID-19 as a global phenomenon that forces into view cultural anxieties about critical work on fantastic Chinese cinema. The key question the pandemic raises is not just the significance of studying the fantastic as a cinematic form but also how one’s understanding of the fantastic, especially as seen through the theory of Sino-enchantment, can help reconceptualize the understanding of life on this shared planet, as one is ‘re-enchanted anew’ toward the hope of better days to come.
{"title":"Coda: Sino-Enchantment in a Time of Crisis","authors":"K. Chan, Andrew Stuckey","doi":"10.3366/edinburgh/9781474460842.003.0013","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474460842.003.0013","url":null,"abstract":"In the coda that concludes this volume, the book’s editors confront COVID-19 as a global phenomenon that forces into view cultural anxieties about critical work on fantastic Chinese cinema. The key question the pandemic raises is not just the significance of studying the fantastic as a cinematic form but also how one’s understanding of the fantastic, especially as seen through the theory of Sino-enchantment, can help reconceptualize the understanding of life on this shared planet, as one is ‘re-enchanted anew’ toward the hope of better days to come.","PeriodicalId":273378,"journal":{"name":"Sino-Enchantment","volume":"21 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"130237086","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-30DOI: 10.3366/edinburgh/9781474460842.003.0007
T. Cunliffe
This chapter traces the sporadic historical development of the science fiction genre in Hong Kong cinema and analyses several films made in Hong Kong since 1979, which adopt science fiction elements to negotiate cultural and ideological anxieties related to modernity, coloniality and Chinese nationalism. The films analysed in this chapter blend science fiction motifs, iconography and narratives with other local genres such as wuxia, kung fu, comedy and the undercover cop/agent thriller. This mixing of genres foregrounds Hong Kong cinema’s particular ideological perspective, which sometimes undermines, challenges or embraces the conventions of the science fiction genre. In this experimental stage from the late-1970s to the 1980s, Hong Kong science fiction films reveal the locus of Hong Kong cinema as one that shuttles between the local, national and global, both resisting and welcoming the modernity that the imagination of science fiction offers. This negotiation is a reaction to Hong Kong’s position in-between Chinese nationalism and British colonialism.
{"title":"Tracing the Science Fiction Genre in Hong Kong Cinema","authors":"T. Cunliffe","doi":"10.3366/edinburgh/9781474460842.003.0007","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474460842.003.0007","url":null,"abstract":"This chapter traces the sporadic historical development of the science fiction genre in Hong Kong cinema and analyses several films made in Hong Kong since 1979, which adopt science fiction elements to negotiate cultural and ideological anxieties related to modernity, coloniality and Chinese nationalism. The films analysed in this chapter blend science fiction motifs, iconography and narratives with other local genres such as wuxia, kung fu, comedy and the undercover cop/agent thriller. This mixing of genres foregrounds Hong Kong cinema’s particular ideological perspective, which sometimes undermines, challenges or embraces the conventions of the science fiction genre. In this experimental stage from the late-1970s to the 1980s, Hong Kong science fiction films reveal the locus of Hong Kong cinema as one that shuttles between the local, national and global, both resisting and welcoming the modernity that the imagination of science fiction offers. This negotiation is a reaction to Hong Kong’s position in-between Chinese nationalism and British colonialism.","PeriodicalId":273378,"journal":{"name":"Sino-Enchantment","volume":"64 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2021-06-30","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"126518829","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2021-06-30DOI: 10.3366/edinburgh/9781474460842.003.0006
S. Chao
This chapter uses Hong Kong commercial filmmaker Ho Meng-hua and his fantastic work to address three main lines of inquiry: the articulations of the fantastic mode across different genres, the kinds of mise-en-scène of desire facilitated by the public forms of generic conventions, and the sorts of preferred subject positions animated by different kinds of mise-en-scène of desire in question. Along with the particular manoeuvre of the fantastic mode across three key genres (fantasy adventure, martial arts and horror genres), coupled with a changing formulation of the fantastic’s double appeal to what the author terms ‘fantastic impossibility’ and ‘spectacular probability’, this chapter comes to the conclusion that Ho Meng-hua’s career at Shaws studio during the 1960s and 1970s reflected the way the Hong Kong people negotiated their distinct subjectivity in a transnational framework, which is the socio-political significance of the fantastic mode in its Hong Kong articulation.
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Pub Date : 2021-06-30DOI: 10.3366/edinburgh/9781474460842.003.0003
Dan North
This chapter offers a case study of Zhang Yimou’s film The Great Wall (2017) and the way it became emblematic of debates around co-productions between China and other filmmaking nations, especially the USA. Principally, it analyses the way visual effects are used to present fantastic imagery that shapes the visual identity of the film through a blend of Chinese and Hollywood conventions. A burgeoning visual effects industry in Chinese cinema, sustained by a wider interest in fantasy films, consumer electronics and the international marketability of visual spectacle, serves as a site of contest and cooperation, where national and cultural symbols are rendered with a combination of state-of-the-art technology and quasi-ancient designs. The production histories of The Great Wall, and the critical discourses accompanying its reception, illustrate how visual effects give visual form to the material infrastructure of film, inflected by the cultural contexts in which they are made, even as they work to efface and conceal the traces of their own manufacture.
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