Pub Date : 2021-02-16DOI: 10.3366/edinburgh/9781474461764.003.0002
Olivia Khoo
This chapter explores how film industries in Asia have sourced regional funding in the form of pan-Asian collaborations and bilateral co-productions. It takes as its case study Johnnie To’s Hong Kong-China co-production Office (2015) to examine how new funding models and production practices have been developed by Asia’s film industries in response to declining theatrical audiences and changing consumer trends.
{"title":"Pan-Asian Filmmaking and Co-productions with China: Horizontal Collaborations and Vertical Aspirations","authors":"Olivia Khoo","doi":"10.3366/edinburgh/9781474461764.003.0002","DOIUrl":"https://doi.org/10.3366/edinburgh/9781474461764.003.0002","url":null,"abstract":"This chapter explores how film industries in Asia have sourced regional funding in the form of pan-Asian collaborations and bilateral co-productions. It takes as its case study Johnnie To’s Hong Kong-China co-production Office (2015) to examine how new funding models and production practices have been developed by Asia’s film industries in response to declining theatrical audiences and changing consumer trends.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2021-02-16","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46609017","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}
In this article, I investigate the evolution of the core values of the Hong Kong people through the term Sai-lou 細路, by means of storytelling in a transmedia context and with a focus on different historical stages, from approximately the end of the Second World War to the 2014 Umbrella Movement. Using the late 1930s four-panel comic strip, Sai-lou Cheung 細路祥 (Kiddy Cheung) created by Yuan Bou-wan 袁步雲 (1922–95) as the origin work for the term, this study examines the core values reflected in the 1950s film Sai-lou Cheung細路祥 (The Kid or My Son A-Chang) starring 9-year-old Bruce Lee, the 1999 film Sai-lou Cheung 細路祥 (Little Cheung) directed by Fruit Chan as well as news reports of the 2014 sit-in street protests whose student leaders the public regarded as Sai-lou 細路 (‘kids’).
{"title":"Transmedia Sai-lou: The evolution of Hong Kong’s core values through comics, film and street protests","authors":"W. Wong","doi":"10.1386/ac_00023_1","DOIUrl":"https://doi.org/10.1386/ac_00023_1","url":null,"abstract":"In this article, I investigate the evolution of the core values of the Hong Kong people through the term Sai-lou 細路, by means of storytelling in a transmedia context and with a focus on different historical stages, from approximately the end of the Second World War to the 2014 Umbrella Movement. Using the late 1930s four-panel comic strip, Sai-lou Cheung 細路祥 (Kiddy Cheung) created by Yuan Bou-wan 袁步雲 (1922–95) as the origin work for the term, this study examines the core values reflected in the 1950s film Sai-lou Cheung細路祥 (The Kid or My Son A-Chang) starring 9-year-old Bruce Lee, the 1999 film Sai-lou Cheung 細路祥 (Little Cheung) directed by Fruit Chan as well as news reports of the 2014 sit-in street protests whose student leaders the public regarded as Sai-lou 細路 (‘kids’).","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"31 1","pages":"151-168"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48006452","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}
The kitchen has become a prominent trope in East Asian cinema, the narratives of which revolve around the homecoming of female protagonists: Rinco’s Restaurant (2009) and Little Forest (2014, 2018). In part due to the fact that the films are adaptations of different media – novel and manga, respectively – and in part motivated by their narrative and style – the female protagonist’s loss of voice in Rinco’s Restaurant and the less frequent recourse to the verbal to express taste in these works – the audience is challenged to imagine the taste of, and pleasure in consuming, food, conveyed through only a limited set of sensorial modes. I focus on the transformative aspect of divergent modes of media storytelling in these films and their original source texts, and further argue that the kitchen becomes a ‘choric’ space for female protagonists where the relationship between mother and daughter is reconfigured in order to reinvent themselves.
{"title":"Home is where the kitchen is: Rinco’s Restaurant (2009) and Little Forest (2014, 2018)1","authors":"Jinhee Choi","doi":"10.1386/AC_00020_1","DOIUrl":"https://doi.org/10.1386/AC_00020_1","url":null,"abstract":"The kitchen has become a prominent trope in East Asian cinema, the narratives of which revolve around the homecoming of female protagonists: Rinco’s Restaurant (2009) and Little Forest (2014, 2018). In part due to the fact that the films are adaptations of different media – novel and manga, respectively – and in part motivated by their narrative and style – the female protagonist’s loss of voice in Rinco’s Restaurant and the less frequent recourse to the verbal to express taste in these works – the audience is challenged to imagine the taste of, and pleasure in consuming, food, conveyed through only a limited set of sensorial modes. I focus on the transformative aspect of divergent modes of media storytelling in these films and their original source texts, and further argue that the kitchen becomes a ‘choric’ space for female protagonists where the relationship between mother and daughter is reconfigured in order to reinvent themselves.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"31 1","pages":"169-185"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47032394","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 focuses on the analysis of two Sinophone films made by Chinese Malaysian filmmakers, which are Flower in the Pocket (Liew Seng Tat 2007) and Nasi Lemak 2.0 (Namewee/Wee 2011), and discusses how these films engage Malaysian ethnocracy by interrogating the ever-problematic Malay–Chinese relationship. Both filmmakers belong to the new generation of Chinese Malaysians who feel the need to question the political system and long for a more inclusive national identity. Flower in the Pocket depicts the uncomfortable relationship between Malays and Chinese by examining the stories of two families from both ethnic backgrounds while questioning how Malays have taken their privilege position and economic protection for granted. Nasi Lemak 2.0 instead parodies the mainstream Malay-centric ideology by deconstructing the image Malay heroism while satirizing UMNO’s manipulation of ethnic politics.
{"title":"Counter-narrating political ethnocracy: Interrogating Malay–Chinese ethnic relations in Flower in the Pocket and Nasi Lemak 2.0","authors":"Kuan Chee Wah","doi":"10.1386/ac_00027_1","DOIUrl":"https://doi.org/10.1386/ac_00027_1","url":null,"abstract":"This article focuses on the analysis of two Sinophone films made by Chinese Malaysian filmmakers, which are Flower in the Pocket (Liew Seng Tat 2007) and Nasi Lemak 2.0 (Namewee/Wee 2011), and discusses how these films engage Malaysian ethnocracy by interrogating the ever-problematic Malay–Chinese relationship. Both filmmakers belong to the new generation of Chinese Malaysians who feel the need to question the political system and long for a more inclusive national identity. Flower in the Pocket depicts the uncomfortable relationship between Malays and Chinese by examining the stories of two families from both ethnic backgrounds while questioning how Malays have taken their privilege position and economic protection for granted. Nasi Lemak 2.0 instead parodies the mainstream Malay-centric ideology by deconstructing the image Malay heroism while satirizing UMNO’s manipulation of ethnic politics.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"31 1","pages":"253-268"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47054692","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 examines how the Toronto Reel Asian International Film Festival constructs an imagined Asian community and how spectators perform their cultural identities at screenings and on social media. By screening films from some Asian nations and diasporas and not others, and by screening a disproportionate number of films from East Asia, Reel Asian’s programming selections imply that some Asian societies are more Asian than others, and posit certain essentialized cultural practices associated with those societies as being emblematic of the Orient as a whole. At screenings and on social media, spectators position themselves either as insiders who identify with the Orient, or as westerners who imaginatively project themselves into an oriental culture through an act of sympathetic understanding. Through an analysis of the Reel Asian Film Festival, this article demonstrates how identity-based film festivals function as sites where an imagined community becomes visible to itself and the general public.
{"title":"Inventing the Asian community: The Toronto Reel Asian International Film Festival as discourse and collective performance","authors":"Michael Sooriyakumaran","doi":"10.1386/ac_00024_1","DOIUrl":"https://doi.org/10.1386/ac_00024_1","url":null,"abstract":"This article examines how the Toronto Reel Asian International Film Festival constructs an imagined Asian community and how spectators perform their cultural identities at screenings and on social media. By screening films from some Asian nations and diasporas and not others, and by screening a disproportionate number of films from East Asia, Reel Asian’s programming selections imply that some Asian societies are more Asian than others, and posit certain essentialized cultural practices associated with those societies as being emblematic of the Orient as a whole. At screenings and on social media, spectators position themselves either as insiders who identify with the Orient, or as westerners who imaginatively project themselves into an oriental culture through an act of sympathetic understanding. Through an analysis of the Reel Asian Film Festival, this article demonstrates how identity-based film festivals function as sites where an imagined community becomes visible to itself and the general public.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"31 1","pages":"219-234"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42761873","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}
Hagane no Renkinjutsushi (Fullmetal Alchemist) (2001, Hagaren in short) is a Japanese comic book franchise that not only expanded into a larger supersystem through its transmedia storytelling on multimedia platforms, but also through the global fandom of cosplay (the Japanese term for costume play), a form of popular culture that is heavily promoted by the Japanese government’s Cool Japan policy. Hagaren is set in an unidentifiable European landscape, a common depiction in many Japanese manga and anime, yet, in the 2017 live-action film that was globally distributed on Netflix, audiences witness a full Japanese cast performing European characters. This cross-racial performance, or yellow washing, challenges the border-crossing narrative and global viewership of the Hagaren’s manga and anime franchise. By examining how Hagaren’s supersystem developed out of the interplays of media industries, fan culture and broader governmental policies, this article aims to excavate the multifaceted politics of not only cross-border consumer identities, but also cross-racial performances propagated by the transmediation of Japanese popular culture on the global stage.
Hagane no Renkinjutsushi(全金属炼金术士)(2001年，简称Hagaren)是一部日本漫画系列，它不仅通过多媒体平台上的跨媒体叙事扩展到一个更大的超系统，而且还通过全球粉丝的cosplay(日本的古装游戏)，这是一种流行文化形式，受到日本政府的“酷日本”政策的大力推广。《萩城》的背景是一个无法辨认的欧洲风景，这是许多日本漫画和动画中常见的描绘，然而，在Netflix上全球发行的2017年真人电影中，观众们看到了全日本演员扮演的欧洲角色。这种跨种族的表演，或称洗黄，挑战了哈根漫画和动漫系列的跨国界叙事和全球观众。通过考察Hagaren的超系统是如何在媒体产业、粉丝文化和更广泛的政府政策的相互作用中发展起来的，本文旨在挖掘跨界消费者身份的多方面政治，以及日本流行文化在全球舞台上的跨界传播所传播的跨种族表演。
{"title":"Transmedia storytelling and transmediated bodies in Fullmetal Alchemist (2017)","authors":"Kukhee Choo","doi":"10.1386/ac_00021_1","DOIUrl":"https://doi.org/10.1386/ac_00021_1","url":null,"abstract":"\u0000Hagane no Renkinjutsushi (Fullmetal Alchemist) (2001, Hagaren in short) is a Japanese comic book franchise that not only expanded into a larger supersystem through its transmedia storytelling on multimedia platforms, but also through the global fandom of cosplay (the Japanese term for costume play), a form of popular culture that is heavily promoted by the Japanese government’s Cool Japan policy. Hagaren is set in an unidentifiable European landscape, a common depiction in many Japanese manga and anime, yet, in the 2017 live-action film that was globally distributed on Netflix, audiences witness a full Japanese cast performing European characters. This cross-racial performance, or yellow washing, challenges the border-crossing narrative and global viewership of the Hagaren’s manga and anime franchise. By examining how Hagaren’s supersystem developed out of the interplays of media industries, fan culture and broader governmental policies, this article aims to excavate the multifaceted politics of not only cross-border consumer identities, but also cross-racial performances propagated by the transmediation of Japanese popular culture on the global stage.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"31 1","pages":"187-202"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43898309","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 : 2020-10-01DOI: 10.13140/RG.2.2.35546.29129
S. Rehman
The Indian film industry continues to turn out between 1600 and 2000 films every year, making it the largest movie-producing country in the world. Yet, it would be a challenge for an average European or American moviegoer to name a film actor from the Indian subcontinent. Naming the films may be easier. For instance, millennials may be able to name Slumdog Millionaire (2008), Generation X crowd may mention Gandhi (1982) and the older audiences may recall The Party (1968) and Ganga Din (1939) as movies about the Indians and India. It was not until the movie Gandhi that Indian actors were allowed to play as Indians. Sam Jaffe and Abner Biberman played as Indians in Ganga Din; Peter Sellers was the Indian actor in The Party, and Shirley MacLaine was the Princess Aouda in Around the World in 80 Days (1956). It is reasonable to assume that many film viewers may be unfamiliar with Om Puri, an actor who played in over 325 films in India, Pakistan, the United Kingdom and the United States, and made films in English, Bengali, Punjabi and Tamil languages. Om Puri passed away in 2017. His name may be unfamiliar, but his face and his work as an actor will remain unforgettable. Between Gandhi (1982) and Viceroy’s House (2017), Puri acted in two dozen films in the United Kingdom, Canada and the United States. This article discusses Puri’s work in popular Hindi cinema, in Indian Parallel Cinema, and European and North American films.
{"title":"Om Puri: The man who presented the real faces of the subcontinent of India","authors":"S. Rehman","doi":"10.13140/RG.2.2.35546.29129","DOIUrl":"https://doi.org/10.13140/RG.2.2.35546.29129","url":null,"abstract":"The Indian film industry continues to turn out between 1600 and 2000 films every year, making it the largest movie-producing country in the world. Yet, it would be a challenge for an average European or American moviegoer to name a film actor from the Indian subcontinent. Naming the films may be easier. For instance, millennials may be able to name Slumdog Millionaire (2008), Generation X crowd may mention Gandhi (1982) and the older audiences may recall The Party (1968) and Ganga Din (1939) as movies about the Indians and India. It was not until the movie Gandhi that Indian actors were allowed to play as Indians. Sam Jaffe and Abner Biberman played as Indians in Ganga Din; Peter Sellers was the Indian actor in The Party, and Shirley MacLaine was the Princess Aouda in Around the World in 80 Days (1956). It is reasonable to assume that many film viewers may be unfamiliar with Om Puri, an actor who played in over 325 films in India, Pakistan, the United Kingdom and the United States, and made films in English, Bengali, Punjabi and Tamil languages. Om Puri passed away in 2017. His name may be unfamiliar, but his face and his work as an actor will remain unforgettable. Between Gandhi (1982) and Viceroy’s House (2017), Puri acted in two dozen films in the United Kingdom, Canada and the United States. This article discusses Puri’s work in popular Hindi cinema, in Indian Parallel Cinema, and European and North American films.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":" ","pages":""},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48179805","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}
Review of: Literati Lenses: Wenren Landscape in Chinese Cinema of the Mao Era, Mia Yinxing Liu (2019) Honolulu: University of Hawaii Press, 242 pp., ISBN-13: 978-0-82485-983-1, h/bk, $75.00
{"title":"Literati Lenses: Wenren Landscape in Chinese Cinema of the Mao Era, Mia Yinxing Liu (2019)","authors":"Young ji Lee","doi":"10.1386/ac_00029_5","DOIUrl":"https://doi.org/10.1386/ac_00029_5","url":null,"abstract":"Review of: Literati Lenses: Wenren Landscape in Chinese Cinema of the Mao Era, Mia Yinxing Liu (2019)\u0000Honolulu: University of Hawaii Press, 242 pp.,\u0000ISBN-13: 978-0-82485-983-1, h/bk, $75.00","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"31 1","pages":"279-283"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46437636","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 interrogates the recent rise of the so-called ‘IP films’ in the Chinese media industry as an indication of a profound transformation in the cultural and economic organization of Chinese cinema, a process that is characterized as platformization. The article examines this process by studying the discursive formation and industrial formulation of the notion of ‘IP’, analysing it as less a novel strategy for filmmaking than a new logic of content generation and labour management, which are mediated and controlled by digital platforms. By studying how the concept was invented, interpreted and utilized in the media industries, I interrogate the interwoven and contested relationship between platforms and content, and examine how the operational logic of platforms changed the ways in which cinematic content is created, distributed and consumed in a transmedial process. The article demonstrates that the transmedia system of IP operates as an assembled network of ‘affective modules’, where affective contacts with and among the audiences are generated, captured and framed by the algorithmic infrastructure of platforms. Such is the process of platformization of cinema; it entails radical transformation not only in content generation also in labour management, a shift from paid professional workers to unpaid participatory fans.
{"title":"The platformization of Chinese cinema: The rise of IP films in the age of Internet+","authors":"Jinying Li","doi":"10.1386/ac_00022_1","DOIUrl":"https://doi.org/10.1386/ac_00022_1","url":null,"abstract":"This article interrogates the recent rise of the so-called ‘IP films’ in the Chinese media industry as an indication of a profound transformation in the cultural and economic organization of Chinese cinema, a process that is characterized as platformization. The article examines this process by studying the discursive formation and industrial formulation of the notion of ‘IP’, analysing it as less a novel strategy for filmmaking than a new logic of content generation and labour management, which are mediated and controlled by digital platforms. By studying how the concept was invented, interpreted and utilized in the media industries, I interrogate the interwoven and contested relationship between platforms and content, and examine how the operational logic of platforms changed the ways in which cinematic content is created, distributed and consumed in a transmedial process. The article demonstrates that the transmedia system of IP operates as an assembled network of ‘affective modules’, where affective contacts with and among the audiences are generated, captured and framed by the algorithmic infrastructure of platforms. Such is the process of platformization of cinema; it entails radical transformation not only in content generation also in labour management, a shift from paid professional workers to unpaid participatory fans.","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"31 1","pages":"203-218"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"43964643","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":"‘Transmedia and Asian Cinema’ editors’ introduction","authors":"Liew Kai Khiun, Sangjoon Lee","doi":"10.1386/ac_00025_2","DOIUrl":"https://doi.org/10.1386/ac_00025_2","url":null,"abstract":"","PeriodicalId":41198,"journal":{"name":"Asian Cinema","volume":"31 1","pages":"147-149"},"PeriodicalIF":0.0,"publicationDate":"2020-10-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"https://sci-hub-pdf.com/10.1386/ac_00025_2","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45178592","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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