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Author: Michelle E. Bloom
Publisher:
ISBN: 9780824868291
Category : Coproduction (Motion pictures, television, etc.)
Languages : en
Pages : 271
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Book Description
Author: Michelle E. Bloom
Publisher: University of Hawaii Press
ISBN: 0824875117
Category : History
Languages : en
Pages : 289
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Book Description
Transnational cinemas are eclipsing national cinemas in the contemporary world, and Sino-French films exemplify this phenomenon through the cinematic coupling of the Sinophone and the Francophone, linking France not just with the Chinese mainland but also with the rest of the Chinese-speaking world. Sinophone directors most often reach out to French cinema by referencing and adapting it. They set their films in Paris and metropolitan France, cast French actors, and sometimes use French dialogue, even when the directors themselves don't understand it. They tend to view France as mysterious, sexy, and sophisticated, just as the French see China and Taiwan as exotic. As Michelle E. Bloom makes clear, many films move past a simplistic opposition between East and West and beyond Orientalist and Occidentalist cross-cultural interplay. Bloom focuses on films that have appeared since 2000 such as Tsai Ming-liang's What Time Is It There? , Hou Hsiao-hsien's Flight of the Red Balloon, and Dai Sijie's Balzac and the Little Chinese Seamstress. She views the work of these well-known directors through a Sino-French optic, applying the tropes of métissage (or biraciality), intertextuality, adaptation and remake, translation, and imitation to shed new light on their work. She also calls attention to important, lesser studied films: Taiwanese director Cheng Yu-chieh's Yang Yang, which depicts the up-and-coming Taiwanese star Sandrine Pinna as a mixed race beauty; and Emily Tang Xiaobai's debut film Conjugation, which contrasts Paris and post-Tiananmen Square Beijing, the one an incarnation of liberty, the other a place of entrapment. Bloom's insightful analysis also probes what such films reveal about their Taiwanese and Chinese creators. Scholars have long studied Sino-French literature, but this inaugural full-length work on Sino-French cinema maps uncharted territory, offering a paradigm for understanding other cross-cultural interminglings and tools to study transnational cinema and world cinema. The Sino-French, rich and multifaceted, linguistically, culturally, and ethnically, constitutes an important part of film studies, Francophone studies, Sinophone studies and myriad other fields. This is a must-read for students, scholars, and lovers of film.
Author: Michelle E. Bloom
Publisher:
ISBN: 9780824868291
Category : Coproduction (Motion pictures, television, etc.)
Languages : en
Pages : 271
Get Book Here
Book Description
Author: Michelle E. Bloom
Publisher: University of Hawaii Press
ISBN: 0824857453
Category : History
Languages : en
Pages : 289
Get Book Here
Book Description
Transnational cinemas are eclipsing national cinemas in the contemporary world, and Sino-French films exemplify this phenomenon through the cinematic coupling of the Sinophone and the Francophone, linking France not just with the Chinese mainland but also with the rest of the Chinese-speaking world. Sinophone directors most often reach out to French cinema by referencing and adapting it. They set their films in Paris and metropolitan France, cast French actors, and sometimes use French dialogue, even when the directors themselves don't understand it. They tend to view France as mysterious, sexy, and sophisticated, just as the French see China and Taiwan as exotic. As Michelle E. Bloom makes clear, many films move past a simplistic opposition between East and West and beyond Orientalist and Occidentalist cross-cultural interplay. Bloom focuses on films that have appeared since 2000 such as Tsai Ming-liang's What Time Is It There? , Hou Hsiao-hsien's Flight of the Red Balloon, and Dai Sijie's Balzac and the Little Chinese Seamstress. She views the work of these well-known directors through a Sino-French optic, applying the tropes of métissage (or biraciality), intertextuality, adaptation and remake, translation, and imitation to shed new light on their work. She also calls attention to important, lesser studied films: Taiwanese director Cheng Yu-chieh's Yang Yang, which depicts the up-and-coming Taiwanese star Sandrine Pinna as a mixed race beauty; and Emily Tang Xiaobai's debut film Conjugation, which contrasts Paris and post-Tiananmen Square Beijing, the one an incarnation of liberty, the other a place of entrapment. Bloom's insightful analysis also probes what such films reveal about their Taiwanese and Chinese creators. Scholars have long studied Sino-French literature, but this inaugural full-length work on Sino-French cinema maps uncharted territory, offering a paradigm for understanding other cross-cultural interminglings and tools to study transnational cinema and world cinema. The Sino-French, rich and multifaceted, linguistically, culturally, and ethnically, constitutes an important part of film studies, Francophone studies, Sinophone studies and myriad other fields. This is a must-read for students, scholars, and lovers of film.
Author: Gwendolyn Audrey Foster
Publisher: Saint James Press
ISBN:
Category : Biography & Autobiography
Languages : en
Pages : 616
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Book Description
This single-volume resource offers comprehensive coverage of women directors and their films as well as producers, writers and production artists. General information on the filmmaker or film is followed, where applicable, by more detailed biography, filmography, comprehensive credits, production information, awards and bibliography. The core of the entry consists of a signed, 800- to 1,000-word critical essay written by a film critic or scholar. Following introductory essays on the evolution and status of women filmmakers, 190 alphabetically arranged entries discuss women directors, producers, animators, art directors, editors, writers, and costume designers. Each entry contains a brief biography, a complete filmography, a selected bibliography of works on and by the entrant, and an expository essay by a specialist in the field. The remaining entries (approximately 60) concern films in which women filmmakers have had a major role. They include production information, lists of cast and crew, a selected bibliography of works about the film, and an essay. Contains many b & w portraits and stills.
Author:
Publisher:
ISBN:
Category : Japan
Languages : en
Pages : 582
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Book Description
Author: Michelle E. Bloom
Publisher: U of Minnesota Press
ISBN: 9780816639311
Category : Art
Languages : en
Pages : 368
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Book Description
London, 1921. The world's greatest wax sculptor watches in horror as flames consume his museum and melt his uncannily lifelike creations. Twelve years later, he opens a wax museum in New York. Crippled, disfigured, and driven mad by the fire, he resorts to body snatching and murder to populate his displays, preserving the bodies in wax. "In a thousand years you will be as lovely as you are now, " he assures one victim. In The Mystery of the Wax Museum (1933), director Michael Curtiz perfectly captures the macabre essence of realistic wax figures that have excited the darker aspects of the public's imagination ever since Madame Tussaud established her famous museum in London in 1802. Artists, too, have been fascinated by wax sculptures, seeing in them--and in the unique properties of wax itself--an eerie metaphoric power with which to address sexual anxiety, fears of mortality, and other morbid subjects. In Waxworks, Michelle E. Bloom explores the motif of the wax figure in European and American literature and art. In particular, she connects the myth of Pygmalion to the obsession with wax statues of women in the nineteenth-century fetishization of prostitutes and female corpses and as depicted in such "wax fictions" as Dickens's The Old Curiosity Shop (1841). Filmmakers, too, have sought inspiration from wax museums, and Bloom analyzes works from the silent era to such waxwork-themed Hollywood horror films as Mad Love (1935) and House of Wax (1953). Bringing her discussion to the present, Bloom examines the work of contemporary artists who use the medium of wax in ways never imagined by Madame Tussaud. As extravagant new wax museums open in Las Vegas, Times Square, and Paris, Waxworksoffers a provocative cultural history of this enduring--and disturbing--art form.
Author: Naomi Greene
Publisher: Hong Kong University Press
ISBN: 9888208691
Category : Performing Arts
Languages : en
Pages : 281
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Book Description
Throughout the twentieth century, American filmmakers have embraced cinematic representations of China. Beginning with D.W. Griffith’s silent classicBroken Blossoms (1919) and ending with the computer-animated Kung Fu Panda (2008), this book explores China’s changing role in the American imagination. Taking viewers into zones that frequently resist logical expression or more orthodox historical investigation, the films suggest the welter of intense and conflicting impulses that have surrounded China. They make clear that China has often served as the very embodiment of “otherness”—a kind of yardstick or cloudy mirror of America itself. It is a mirror that reflects not only how Americans see the racial “other” but also a larger landscape of racial, sexual, and political perceptions that touch on the ways in which the nation envisions itself and its role in the world. In the United States, the exceptional emotional charge that imbues images of China has tended to swing violently from positive to negative and back again: China has been loved and—as is generally the case today—feared. Using film to trace these dramatic fluctuations, author Naomi Greene relates them to the larger arc of historical and political change. Suggesting that filmic images both reflect and fuel broader social and cultural impulses, she argues that they reveal a constant tension or dialectic between the “self” and the “other.” Significantly, with the important exception of films made by Chinese or Chinese American directors, the Chinese other is almost invariably portrayed in terms of the American self. Placed in a broader context, this ethnocentrism is related both to an ever-present sense of American exceptionalism and to a Manichean world view that perceives other countries as friends or enemies. “From Fu Manchu to Kung Fu Panda chronicles the struggle within Hollywood film to come to grips with American ambivalence toward China as a nation against the backdrop of its current economic and geopolitical ascendancy on the world stage. Reaching back to early film portrayals of Chinatown, Christian missionaries, warlords, and perverse villains bent on world domination, Greene moves from the ‘yellow peril’ to the ‘red menace’ as she examines WWII and Cold War cinema. She also explores the range of film fantasies circulating today, from films about Tibet to Chinese American independent features and the global popularity of kung fu cartoons. This accessible book allows these films to speak to the post 9-11/Occupy Wall Street generation and makes a welcome contribution to debates about Hollywood Orientalism and transnational Chinese film connections.” —Gina Marchetti, author of The Chinese Diaspora on American Screens: Race, Sex, and Cinema “A significant work of filmography, Naomi Greene’s book explores the exotic, at times menacing, but always fantastic images of China flickering on the silver screen of the American imagination. The author writes lucidly, jargon-free, and with the sure-footedness of a seasoned scholar.” —Yunte Huang, author of Charlie Chan: The Untold Story of the Honorable Detective and His Rendezvous with American History
Author: Hyangjin Lee
Publisher: Manchester University Press
ISBN: 1526141299
Category : Performing Arts
Languages : en
Pages : 253
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Book Description
The first in-depth, comprehensive study of Korean cinema offering original insight into the relationships between ideology and the art of cinema from East Asian perspectives. Combines issues of contemporary Korean culture and cinematic representation of the society and people in both North and South Korea. Covers the introduction of motion pictures in 1903, Korean cinema during the Japanese colonial period (1910-45) and the development of North and South Korean cinema up to the 1990s. Introduces the works of Korea's major directors, and analyses the Korean film industry in terms of film production, distribution and reception. Based on this historical analysis, the study investigates ideological constructs in seventeen films, eight from North Korea and nine from South Korea.
Author: Kenneth Chan
Publisher: EUP
ISBN: 9781474460859
Category :
Languages : en
Pages : 304
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Book Description
Approaches the recent resurgence of the fantastic in Chinese cinemas.
Author: Astrid Møller-Olsen
Publisher:
ISBN: 9781621967002
Category : Chinese fiction
Languages : en
Pages :
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Book Description
"This book assesses the dynamics of human senses and environment, memory and narrativity, through the prism of the ever-evolving urban scape in the Chinese and Sinophone world. The study regards the "city" as an architectural sphere, a site of sociality, a domain of affect, and most suggestively, a narrative construct. With a lineup of works drawn from contemporary Chinese and Sinophone communities, this study identifies indigenous and global contestations, introduces multiple themes, styles, and discourses, and ponders the consequences of narrative fiction as a unique manifestation through which the urban subject encounters and configures the world. Hong Kong, Shanghai and Taipei are chosen as the specific sites in which such encounters and configurations take shape. This book is an important resource for all interested in narratology, urban studies, environmental studies, affect studies, Asian studies, and comparative literature in both Sinophone and global contexts"--
