G. Marchetti, Aaron Han Joon Magnan-Park, Stacilee Ford
{"title":"Making the most of an MOOC on Asian film: Hong Kong Cinema Through a Global Lens: A Massive Open Online Course at the University of Hong Kong","authors":"G. Marchetti, Aaron Han Joon Magnan-Park, Stacilee Ford","doi":"10.1386/AC.30.1.137_1","DOIUrl":"https://doi.org/10.1386/AC.30.1.137_1","url":null,"abstract":"","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45154433","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}
{"title":"The first screenings of Lumière films in China: Conjectures and new findings","authors":"S. Lu","doi":"10.1386/AC.30.1.129_1","DOIUrl":"https://doi.org/10.1386/AC.30.1.129_1","url":null,"abstract":"","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2019-04-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/AC.30.1.129_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"49550873","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}
China and Kyrgyzstan are at the point of national development where the interplay between a national past and a globalised future are still hotly debated. Both nations are at the crux of the global questions related to the universal dilemmas posed by the collapse of the revolutionary socialist challenge to the hegemony of capitalism (Sakwa 1999). This article will examine the interplay between gender and the vision of postsocialist modernity that is found in two films. Blind Mountain (Li, 2007) and Pure Coolness (Abdyjaparov, 2007) both present the respective stories of teenagers forced into marriage as part of a "tradition" that is supported by the broader local community (as opposed to been the act of an individual male kidnapper). I will explore how the girl simultaneously represents a vision of a localised space while operating as an indicative sign of cultural difference. In short, she is the site of the transmission of ideals of gender and modernity between moments in national development. We, therefore, see the girl caught in the crosshair of modernity, sexuality, tradition, nostalgia and capitalism in communities that, as will be explored, are struggling to find a sense of self in the Asian post-socialist moment.
{"title":"Girlhood, bride-kidnapping and the postsocialist moment in Mángshān (Blind Mountain) (Li, 2007) and Boz Salkyn (Pure Coolness) (Abdyjaparov, 2007)","authors":"K. Taylor-Jones","doi":"10.1386/AC.29.2.225_1","DOIUrl":"https://doi.org/10.1386/AC.29.2.225_1","url":null,"abstract":"China and Kyrgyzstan are at the point of national development where the interplay between a national past and a globalised future are still hotly debated. Both nations are at the crux of the global questions related to the universal dilemmas posed by the collapse of the revolutionary socialist challenge to the hegemony of capitalism (Sakwa 1999). This article will examine the interplay between gender and the vision of postsocialist modernity that is found in two films. Blind Mountain (Li, 2007) and Pure Coolness (Abdyjaparov, 2007) both present the respective stories of teenagers forced into marriage as part of a \"tradition\" that is supported by the broader local community (as opposed to been the act of an individual male kidnapper). I will explore how the girl simultaneously represents a vision of a localised space while operating as an indicative sign of cultural difference. In short, she is the site of the transmission of ideals of gender and modernity between moments in national development. We, therefore, see the girl caught in the crosshair of modernity, sexuality, tradition, nostalgia and capitalism in communities that, as will be explored, are struggling to find a sense of self in the Asian post-socialist moment.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/AC.29.2.225_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42809753","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}
{"title":"Jia Zhangke and Chinese painting","authors":"P. Rist","doi":"10.1386/AC.29.2.189_1","DOIUrl":"https://doi.org/10.1386/AC.29.2.189_1","url":null,"abstract":"","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/AC.29.2.189_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44481151","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}
{"title":"An interview with Hong Kong sound designer Kinson Tsang","authors":"J. Leow","doi":"10.1386/AC.29.2.275_7","DOIUrl":"https://doi.org/10.1386/AC.29.2.275_7","url":null,"abstract":"","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/AC.29.2.275_7","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47972404","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}
As a term of description, 'Asianization' characterizes the impact of aesthetic and narrative influences from Asian cinemas on co-produced or American films since the late twentieth century. The 'flexible citizenship' of filmmakers and aesthetic traditions stemming from East Asian cinemas are seen to have transformed the global action cinema, in particular. Analyses of the orientalism of self/other relations inscribed in Asianized western films permeate reception, in spite of the problematic nature of the paradigms of Orient and orientalism. This article problematizes Asianization by referring to the Asian masquerades in Hollywood cinema in the pre-Second World War era, and the orientalism and 'East meets West' mythos that underpins a number of these films. The main case study, Lost Horizon, a blockbuster produced by Columbia Pictures in 1937 and directed by the Italian American filmmaker, Frank Capra, is a prototype imagining of 'Asia'. It is a simulacra instilled through the trappings of costume, set, acted masquerade and elliptic narrative geographies, and facilitated by the racial proscriptions of the Motion Picture Association of America (Hays) Code of the era. The aesthetic discourse is marked, I argue, by duality whereby Asia is presented as both threat and paradise, a duality that resonates, if disparately, in the aesthetics of contemporary and twentieth-century Asianized films.
作为一个描述术语，“亚洲化”描述了自20世纪后期以来亚洲电影院对联合制作或美国电影的美学和叙事影响的特征。电影人的“灵活的公民身份”和源于东亚电影院的审美传统被视为改变了全球动作电影，特别是。尽管东方和东方主义的范式存在问题，但在亚洲化的西方电影中，对自我/他者关系的东方主义的分析仍然渗透在人们的接受中。本文通过参考二战前好莱坞电影中的亚洲化妆舞会，以及支撑许多此类电影的东方主义和“东西方相遇”神话，对亚洲化提出了质疑。主要的案例是1937年由哥伦比亚电影公司制作、意大利裔美国导演弗兰克·卡普拉执导的大片《消失的地平线》，它是对“亚洲”的原型想象。这是一种通过服装、布景、表演假面舞会和椭圆形叙事地理的陷阱灌输的拟像，并受到当时美国电影协会(Motion Picture Association of America, Hays)法典的种族禁令的推动。我认为，审美话语以二元性为标志，亚洲既被呈现为威胁，又被呈现为天堂，这种二元性在当代和二十世纪亚洲化电影的美学中产生了共鸣，即使是不同的共鸣。
{"title":"Where East-meets-West meets Asianization: Aesthetics, regionality and Frank Capra’s Lost Horizon","authors":"A. Craven","doi":"10.1386/AC.29.2.175_1","DOIUrl":"https://doi.org/10.1386/AC.29.2.175_1","url":null,"abstract":"As a term of description, 'Asianization' characterizes the impact of aesthetic and narrative influences from Asian cinemas on co-produced or American films since the late twentieth century. The 'flexible citizenship' of filmmakers and aesthetic traditions stemming from East Asian cinemas are seen to have transformed the global action cinema, in particular. Analyses of the orientalism of self/other relations inscribed in Asianized western films permeate reception, in spite of the problematic nature of the paradigms of Orient and orientalism. This article problematizes Asianization by referring to the Asian masquerades in Hollywood cinema in the pre-Second World War era, and the orientalism and 'East meets West' mythos that underpins a number of these films. The main case study, Lost Horizon, a blockbuster produced by Columbia Pictures in 1937 and directed by the Italian American filmmaker, Frank Capra, is a prototype imagining of 'Asia'. It is a simulacra instilled through the trappings of costume, set, acted masquerade and elliptic narrative geographies, and facilitated by the racial proscriptions of the Motion Picture Association of America (Hays) Code of the era. The aesthetic discourse is marked, I argue, by duality whereby Asia is presented as both threat and paradise, a duality that resonates, if disparately, in the aesthetics of contemporary and twentieth-century Asianized films.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/AC.29.2.175_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48676684","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}
This article is a formal analysis of the poetics of Li Shaohong’s Stolen Life (2005). It analyses issues of mise-en-scene from the perspective of composition, camera movement and choreography of characters within the frame. Taking in equal measure from David Bordwell’s classic work on mise-en-scene and Adrian Martin’s recent espousal of social mise-en-scene, I shall be arguing that Li’s work presents rich social description but also provides an account of agency and transcendence. My analysis of Stolen Life acknowledges Li Shaohong’s deployment of familiar tropes from popular storytelling, while giving emphasis to the distinct variations that she provides throughout the film.
{"title":"The poetics of (social) mise-en-scène and transcendence in Li Shaohong’s Stolen Life","authors":"Hing Tsang","doi":"10.1386/AC.29.2.243_1","DOIUrl":"https://doi.org/10.1386/AC.29.2.243_1","url":null,"abstract":"This article is a formal analysis of the poetics of Li Shaohong’s Stolen Life (2005). It analyses issues of mise-en-scene from the perspective of composition, camera movement and choreography of characters within the frame. Taking in equal measure from David Bordwell’s classic work on mise-en-scene and Adrian Martin’s recent espousal of social mise-en-scene, I shall be arguing that Li’s work presents rich social description but also provides an account of agency and transcendence. My analysis of Stolen Life acknowledges Li Shaohong’s deployment of familiar tropes from popular storytelling, while giving emphasis to the distinct variations that she provides throughout the film.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2018-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/AC.29.2.243_1","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47502180","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}
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