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IKAT The Indonesian Journal of Southeast Asian Studies最新文献

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Archipelago of Resettlement: Vietnamese Refugee Settlers and Decolonization across Guam and Israel-Palestine 重新安置群岛:关岛和以色列-巴勒斯坦的越南难民定居者和非殖民化
Pub Date : 2023-08-16 DOI: 10.1215/00219118-10773761
Phi-Vân Nguye
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引用次数: 0
The Border Within: Vietnamese Migrants Transforming Ethnic Nationalism in Berlin
Pub Date : 2023-08-16 DOI: 10.1215/00219118-10773207
N. Truong
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引用次数: 1
Unwritten Rule: State-Making through Land Reform in Cambodia 不成文的规则:柬埔寨通过土地改革建立国家
Pub Date : 2023-08-16 DOI: 10.1215/00219118-10773601
Vu Minh Hoang
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引用次数: 2
Making the Gods Speak: The Ritual Production of Revelation in Chinese Religious History 让神说话:中国宗教史上启示的仪式生产
Pub Date : 2023-08-16 DOI: 10.1215/00219118-10773330
G. Raz
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引用次数: 0
Mobilizing for Elections: Patronage and Political Machines in Southeast Asia 选举动员:东南亚的赞助和政治机器
Pub Date : 2023-08-16 DOI: 10.1215/00219118-10773591
Sebastian Dettman
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引用次数: 3
Editorial Foreword 编辑前言
Pub Date : 2023-08-16 DOI: 10.1215/00219118-10699549
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引用次数: 0
Acquired Alterity: Migration, Identity, and Literary Nationalism 获得性另类:迁移、身份认同与文学民族主义
Pub Date : 2023-08-16 DOI: 10.1215/00219118-10773771
Monica Okamoto
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引用次数: 0
A Proximate Remove: Queering Intimacy and Loss in The Tale of Genji 一种近似的移除:源氏物语中古怪的亲密和失落
Pub Date : 2023-08-16 DOI: 10.1215/00219118-10773530
E. Sarra
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引用次数: 0
The Audacious Raconteur: Sovereignty and Storytelling in Colonial India 大胆的叙述者:殖民地印度的主权与叙事
Pub Date : 2023-08-16 DOI: 10.1215/00219118-10773581
A. Malhotra
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引用次数: 0
Sonic Mobilities: Producing Worlds in Southern China 声音移动:在中国南方生产世界
Pub Date : 2023-08-16 DOI: 10.1215/00219118-10773360
Cameron L. White
Second World War and, after 1945, civil war and hyperinflation further marginalized Hollywood’s influence. But it was not until the start of the Korean War that the Communist government fully committed to the nationalization of the film industry along Soviet lines. As chapter three shows, post-1949 plans for a Beijing Cinema Village – a centralized production site along the lines of a Hollywood back lot – were only officially quashed in October 1952, while local audiences were initially ambivalent about watching Soviet and Soviet-style cinema. Even after the industry pivoted fully to a socialist model, Hollywood lived on through the shadow archives of “internal reference films” – foreign movies amassed for elite private viewing – the influence of which is explored in chapter four. If the first half of Hollywood in China is, broadly speaking, a studio history, the second focuses on policy shifts, individuals and significant films. Chapters five and six discuss the PRC’s co-option of Hollywood imports to stimulate the domestic industry during its transition to a market-driven model in the 1990s; the revival of concerns about resisting Hollywood in the run-up to WTO accession; and the subsequent growth of, and battle for dominance over, the Chinese domestic market after 2001 – a battle in which collaboration and resistance were intimately entwined. Chapter seven shifts to popular Chinese film genres of the 2010s, mapping how the rise of New Year films, leitmotif blockbusters and comic franchises like Xu Zheng’s Lost in... series helped limit Hollywood’s incursions into the domestic box office. Chapter eight then considers both the Chinese film industry’s investments in Hollywood, and the challenges posed to these investments by the re-politicization of the cinematic relationship in the Xi–Trump era. The final chapter takes stock of the present, asking whether we are really seeing a Sino-Hollywood decoupling while identifying what Zhu considers will be the relationship’s key impediments in the near future. With its focus on the longue durée, this book effectively contextualizes current dynamics in relation to longer trends. While focusing primarily on policy, production and distribution, it also considers questions of exhibition and reception. Its later, contemporary sections are inevitably less focused than its earlier chapters, reflecting the difficulty of assessing present-day volatility. Nonetheless, Hollywood in China folds an unusually broad range of industry data into an overarching historical narrative: as a one-stop shop for facts and figures about the Chinese film market, and Hollywood’s presence therein – about what happened, where and when – it is therefore invaluable.
第二次世界大战以及1945年后的内战和恶性通货膨胀进一步边缘化了好莱坞的影响力。但直到朝鲜战争开始,共产党政府才完全按照苏联的路线将电影工业国有化。正如第三章所示,1949年后北京电影村的计划——一个与好莱坞片场类似的集中制作基地——直到1952年10月才被正式取消,而当地观众最初对观看苏联和苏联风格的电影持矛盾态度。即使在电影工业完全转向社会主义模式之后,好莱坞仍然依靠“内部参考电影”的影子档案生存下去——这些电影是为精英们私人观看而收集的外国电影——第四章将探讨这些电影的影响。如果说好莱坞在中国的前半部分大体上是一部电影公司的历史,那么后半部分则侧重于政策转变、个人和重要电影。第五章和第六章讨论了20世纪90年代中国向市场驱动模式过渡期间,中国对好莱坞进口电影的合作选择,以刺激国内产业;在加入世贸组织前夕,对抵制好莱坞的担忧重新抬头;以及2001年后中国国内市场的增长和主导地位之争——在这场斗争中,合作与抵制紧密地交织在一起。第七章转向2010年代流行的中国电影类型,描绘贺岁片、主题大片和徐峥的《迷失在……系列影片帮助限制了好莱坞对国内票房的入侵。最后一章对当前进行了盘点,询问我们是否真的看到了中国与好莱坞的脱钩,同时确定了朱认为在不久的将来,这种关系的主要障碍是什么。这本书的重点是长期的时间跨度,它有效地将当前动态与长期趋势联系起来。在主要关注政策、制作和发行的同时,它也考虑了展览和接待的问题。它的后期,当代部分不可避免地没有前几章那么集中,反映了评估当今动荡的困难。尽管如此,好莱坞在中国将不同寻常的广泛行业数据整合到一个包罗万象的历史叙述中:作为一个一站式商店,提供有关中国电影市场的事实和数据,以及好莱坞在其中的存在——关于发生了什么,何时何地——因此是无价的。
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引用次数: 1
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IKAT The Indonesian Journal of Southeast Asian Studies
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