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1.
Abstract

When director Wisit Sasanatieng’s retro cowboy flick Fa thalai jone (2000 Wisit, Sasanatieng. 2000. Tears of the Black Tiger (Fa thalai jone)  [Google Scholar]) became the first Thai film to be screened at the Cannes Film Festival in May 2001, under the English‐language title Tears of the Black Tiger, Thai cinema seemed to have truly ‘gone international’. This paper examines the striking disparity, however, in the reception of the film by local and global audiences, to the extent that Fa thalai jone and Tears of the Black Tiger might arguably be understood as two discrete and divergent cinematic texts at the level of viewer signification. For Western critics, ‘Tears…’ is unquestionably a piece of postmodern filmmaking, awash with surface aesthetic appeal, intertextual richness and an apparently unrelenting obsession with style that is seemingly devoid of an original reference point. Fa thalai jone, by contrast connotes distinct meanings for Thai audiences, who are more fully attuned to the original references the film pursues and able to read the aesthetic appeal it has to offer in a framework beyond that of the dominant ‘force field’ of interpretation that postmodernism has come to be in the West. Instead Fa thalai jone offers a homage to Thailand’s cinematic past, posing as a ‘genuine Thai film’ (phaphayon thai thae) and comprehended in terms of an alternative dominant force field of meaning, that of traditionalism and reverence for the past. This paper examines the ways in which Tears of the Black Tiger/Fa thalai jone straddles two alternative interpretive positions in an accomplished move on the part of the director to pursue the globally focused aspirations of modern Thai cinema while remaining idiosyncratically faithful to local sensibilities.  相似文献   

2.
Abstract

In the late 1990s, independent Thai films became a new burgeoning industry, with the beginnings of international recognition. Taking three case studies, Apichatpong Weerasethakul’s Mysterious Object at Noon (), Thunska Pansittivorakul’s Voodoo Girls (2003 Thunska, Pansittivorakul. 2004. Personal interview, 19 February [Google Scholar]) and Aditya Assarat and Mingmongkol Sonakul’s Ma‐mee/ Three Friends (), I argue that the digital format for DVD/VCDs is paving the way for independent filmmakers/producers to participate in the art film market abroad and to cut production costs. Following the economics of money flows makes it clear that ‘independent film’ in Thailand is less about economic independence than a type of branding and packaging of aesthetics and content. While film, economically, is never outside the workings of capital, the content and style of the three film projects considered here seek to break out of the conventions set by the commercial Thai film narrative style.  相似文献   

3.
Abstract

This paper aims to engage in a critical analysis of the concept of ‘accented cinema’ recently developed by Hamid Naficy to refer to the emergent genre of exilic/diasporic filmmaking. Naficy’s theorization of ‘accented cinema’ in particular and discussions around exilic/diasporic cinema in general will be challenged on the basis of the observation that the cinematic styles and thematic preoccupations associated with exilic/diasporic films consistently appear also in wide‐ranging examples of contemporary ‘world’ cinema that are often classified under the rubric of ‘national cinemas’. To illustrate this observation, the paper provides a parallel reading of three recent films – A Time for Drunken Horses (1999) by Kurdish‐Iranian director Bahman Ghobadi, Happy Together (1997) by Hong Kong director Wong kar‐wai, and Distant (2002) by Turkish director Nuri Bilge Ceylan – whose directors cannot possibly be considered as ‘exilic/diasporic’ in a conventional sense. Yet, it will be argued, the styles and thematic concerns associated with exilic/diasporic cinema manifestly prevail in all three films discussed in this paper as well as in many other examples of contemporary ‘world’ cinema. Departing from this observation, the paper will open up the new genre of ‘accented cinema’ to further questioning and suggest that unless the mutual entanglement between exilic/diasporic filmmaking and national cinema is disclosed, the notion of ‘accented cinema’ will not be sufficiently able to realize its critical potential.  相似文献   

4.
Abstract

This essay is concerned with the ways in which postcolonial historiography is inscribed in cinema. Two representative films of Taiwan and South Korea, The Puppetmaster by Hou Hsiao‐Hsien 1 1. Names in Chinese, Korean and Japanese are written in the order of family name followed by given name. For example, Hou Hsiao‐Hsien, Im Kwontaek. and Chihwaseon by Im Kwontaek are compared, not only to understand the working of de‐colonization in the cinematic apparatus but also to understand the impact, effects of colonial history. The notion of postcolonial filmmaking as an alternative construction of the archive is evoked to locate film practice in the intersecting spaces of repository, historiography, cinematic representation and social memory. Hence, these two films are cited as instances of illuminating retrospection on fractured pasts, the almost‐invisible archive and the future cinematically envisioned by suggesting a sustainable postcolonial episteme in the age of global spectatorship.  相似文献   

5.
Abstract

In this essay, Ho Tzu Nyen attempts to unearth a subterranean narrative that threads through three films produced by three male Singaporean directors – namely Mee Pok Man (1995) by Eric Khoo, 15 (2003) by Royston Tan, and Zombie Dogs (2004) by Toh Hai Leong. This narrative of unconsciously repeated motifs that migrate from film to film is in turn analyzed as a recurrent symptom that haunts a number of Singaporean cinematic productions from the 1990s onwards. This symptom, which can be summarily described as a paranoid relationship to ‘otherness’, makes manifest a variety of psychic tendencies such as morbid fear of impotence, misogyny, and fetishization of the social other. For Ho, such impulses are in turn intricately linked to what he, following the literary critic Harold Bloom, calls ‘The Anxiety of Influence’. For Bloom, every poet embarks upon his career after a prior encounter with another poet, or poem. As a result, the ‘late‐coming’ poet inevitably suffers from a sense of threatened autonomy, because his profoundest insights and deepest desires are always already elucidated by another. For the Singaporean filmmaker, Ho argues that this ‘anxiety’ in relation to the cinematic tradition takes on a peculiar nature and a doubled pressure, for the canon that inspires them is perceived as being something essentially foreign. Hence the Singaporean filmmaker makes cinema as though he is stuttering in a foreign tongue. Therefore, the concept of ‘the anxiety of influence’ is modulated and compounded with a ‘postcolonial anxiety’. In addition, Ho also draws upon the concepts of the philosopher Gilles Deleuze in an attempt to sketch out an ontology of cinema that at once functions in a deconstructive relationship to ‘auteur‐driven’ modes of analyses, while avoiding what he perceives as the overly ‘sociological’ bent that characterizes much of the existing corpus of writings on Singaporean cinema.  相似文献   

6.
ABSTRACT

This paper examines the cultural significance of three emerging Chinese kung fu films in their recent box office success in global film market. The paper aims to provide an integrative framework that shows how Hollywood’s global dominance in both film consumption and production contributes to the success of the newly Chinese Kung Fu films. Focusing on marketing strategies of Crouching Tiger, Hidden Dragon, Hero and House of Flying Daggers, this study argues that the economic success of the three films represent further regulation of Hollywood. In production, the NICL thesis is at work with a particular collaboration pattern among the transnational Chinese film talent communities. In distribution and exhibition, this paper contends that global box office achievement fails to contribute directly to any Chinese film industry. Autonomy is seen between Hollywood film majors and Chinese filmmakers when consumption of these films becomes a global phenomenon.  相似文献   

7.
Abstract

In traditional Chinese culture, dreams are often more than a narrative ploy or an extension of the authors’ imagination, but instruments for musings on life. This essay is an attempt to study Hou Hsiao‐Hsien’s aesthetics in The Puppetmaster and Flowers of Shanghai from the perspective of dreams. The former is like a lucid dream where the ageing puppet master is the person in the dream, while Hou the filmmaker is the passer‐by who saunters into the dream and puts it down on record. The latter, on the other hand, is an inebriated dream where the plan‐sequences are weaved together by black‐ins and black‐outs as in a dream from which no one wants to wake.  相似文献   

8.
Abstract

Despite little improvement in the socio‐political predicament of Okinawa since its reversion to Japan, culturally there has recently been something of an ‘Okinawa boom’ in mainland Japan. This has involved a huge interest in Okinawa and Okinawan cultures in mainland Japan and an increasing ‘consumption’ of Okinawan goods and cultural artefacts. One of the symptoms of this trend has been the growth in the last five years or so, in the number of films set in Okinawa. Many of these films present conventional stereotypical images of Okinawa and, whether wittingly or not, have contributed to the ‘cosmetic operation’ of Japan’s multiculturalism by providing a utopian vision of Okinawanness and erasing Okinawa’s problems from the screen. However, an Okinawan filmmaker, Takamine Go, critically challenges such stereotypes and Japan’s cosmetic multiculturalism. This paper focuses on Takamine’s Untamagirū (1989 Takamine, Go. 1989. Untamagirū  [Google Scholar]) and Tsuru‐Henry (1999). It examines the cinematic strategies mobilised by these films – the use of different languages, allegorical implications, complex montages of image and sound, and the departure from conventional narrative realism. These strategies, it will be suggested, not only enable the films to explore complex forms of public memory and history but also to challenge the notion of a homogeneous Japan and its ‘quasi‐orientalist’ gaze towards Okinawa. The paper then proceeds to argue that Takamine’s films should not simply be regarded as a ‘regional’ variant of Japanese cinema but as a ‘specifically Okinawan cinema’ that both overlaps with and opposes a ‘national’ Japanese cinema.  相似文献   

9.
Abstract

Thai Democracy: Three Decades After October 14 (in Thai) edited by historian Charnvit Kasetsiri (2003 Charnvit, Kasetsiri, ed. 2003. Thai Democracy: Three Decades After October 14 (Sam Thotsawat 14 Tula kab Prachatipatai), Bangkok: Foundation for the Promotion of Social Science and Humanities Textbooks Project. (In Thai.). Public Lectures Open University Series, [Google Scholar]) offers an entrée into understanding how Thailand’s 1970s social movements and state violence register in current politics and Thai historiography. The anthology was put together to commemorate the 30th anniversary of the October 14, 1973 uprising, which led to the temporary exile of the past military regime. The contributors are varied across the academic disciplines, with speeches and newspaper articles by public intellectuals, politicians, and poet/writers. Those in Thai and Southeast Asian Studies will find this an invaluable resource. For those who do not read Thai, the VCD provides two English subtitled documentaries produced by Charnvit Kasetsiri. One features the historical events and the other is a walking tour of the numerous landmarks of the October 14, 1973 uprising.  相似文献   

10.
Abstract

San Francisco, since its global takeoff in the Gold Rush Days and long‐standing trafficking in Bohemian, socialist, queer, and left‐leaning energies in and beyond the Beat era of the 1960s, has a complicated global/local history of trying to disentangle its city‐space and urban imaginary from the Greco‐Roman will‐to‐supremacy that would turn California into a frontier settlement of Asian/Pacific domination and US‐framed empire. Forces of social becoming like the Beats and post‐Beat hippies as well as more experimental authors like Jack Spicer, Maxine Hong Kingston, Frank Chin, and Bob Kaufman helped to forge a different literary‐social vision of San Francisco and the Pacific Rim city as a porous community of transnational innovation and outer‐national becoming. This paper will invoke some literary and film texts from Howl and Tripmaster Monkey to Vertigo to Margaret Cho stand‐up performances as well as some geopolitical studies, such as Gray Brechin’s Imperial San Francisco and City Light Press’s Reclaiming San Francisco to substantiate this double vision of San Francisco as global/local US site of (a) imperial ratification and (b) counter‐orientalist deformation.  相似文献   

11.
Abstract

Dust in the Wind, a color film set in the verdant mountains of Taiwan, includes two scenes almost identical to the black‐and‐white and silent films by the Lumières, shot at the end of the nineteenth century: Arrival of a Train at La Ciotat and Passage Through a Railway Tunnel. As Hou’s mise‐en‐scène consists of the fixed camera angle with its long takes, it is the means of transportation that brings motion to the film, controlling dramatic elements of each work. The luxury cars, which appear in his first three romantic comedies, symbolize the rich and the motorbike the common people. The drivers are all young women, but an automobile cannot be a setting for love. In Daughter of the Nile and Goodbye South, Goodbye, the cars offer no protection to men trying to escape. Compared with the thematic negativity that the automobile possess in Hou’s universe, the motion of the passing trains, taken from many angles, offers rich and profound significations. When the camera is inside the train, the protagonists are taciturn, such as the two adolescents in Dust in the Wind who show their intimacy with each other without saying words. When the camera is next to the tracks or on the platform, the situation changes. In A Time to Live, A Time to Die, Hou depicts the grandmother sitting next to her grandson at a shop by the train and sipping sweet ice while behind them passes a freight train that emphasizes the anxious solitude of the old woman exiled from her homeland. A sublime depiction of the sense of powerlessness of both the deaf‐mute photographer and his family before a passing train is the scene on the deserted platform in A City of Sadness. In Café Lumière, the young woman and her friend in the passing train recognize how valuable they are to each other without saying words. This taciturnity suggests a certain kind of love that needs no sexual language.  相似文献   

12.
Abstract

This article situates Hou Hsiao‐Hsien’s films in the post Cold‐War global setting. It discusses two common interpretive approaches to Hou Hsiao‐Hsien’s films – French auteurism and ‘national allegory’ – and puts these two approaches within their historical context of Cold‐War and post Cold‐War global politics. The article places the rise of Hou Hsiao‐Hsien’s films parallel to the rise of the mainland fifth generation of film directors, pointing out that their apparently opposite directions – Hou Hsiao‐Hsien going political in his Taiwan trilogy and the fifth generation film directors going apolitical – are part and parcel of the same phenomenon of alternative politics in its particular contexts and the reconstruction of a new identity politics. Particular attention is given to Hou’s Taiwan trilogy, Flowers of Shanghai, and Coffee Jikou.  相似文献   

13.
Abstract

1997 as a global media spectacle about Hong Kong’s handover of its sovereignty from Britain to China is now almost forgotten; yet Hong Kong is still caught between the politics of time and memory too complex to be captured under simple post‐colonialist notion such as ‘hybridity’. This paper tries to put in perspective a (post‐)colonial cultural politics of counter‐memory in Hong Kong cinema by investigating its decades‐long investment in a sub‐genre built around the motif of undercover‐cop. Specifically, the example of the blockbuster Infernal Affairs series is analyzed in details, with particular attention to its innovative plot, to show how the ‘structure of feeling’ about Hong Kong’s political fate is embedded in the films underpinning their local box‐office success. The allegorical reading of the film series attempted in this paper also connects the discussion about the ‘political unconscious’ of Hong Kong, now and in the past, with the wider problem of how the future political subjectivity of Hong Kong will take shape.  相似文献   

14.
Abstract

This paper examines the construction of working‐class Mat Motor (Malay biker) masculinity and queer desire in/through KL Menjerit, a commercial biker film that exudes the unmistakably aura of working‐class kejantanan (masculinity). Specifically, I focus on how the film – or more precisely the ‘queer moments’ it contains – resonates in ways that are not necessarily obvious to the disinterested heterosexual public eye. The discussion takes into account both filmic elements and the sexual geography of Kuala Lumpur (KL), where shifting biker spaces sometimes intersect with homosexual cruising sites. My argument is that the film’s representation of the Mat Motor protagonist as unbendingly straight and heterosexually jantan – while imaginably gratifying to the core audience of Mat Motors – actually belies the opposite reality of KL’s ‘forgotten’ underside, where gender and sexuality are much more fluid and malleable than is sanctioned by society and the state.  相似文献   

15.
Abstract

The 2003 film Lost in Translation has attracted both acclaim and critique concerning its representation of the urban imaginary of Tokyo. Examining both the film representation and the critical responses to the imaginary, this paper discusses how they illuminate some of the emerging issues that Tokyo and Japan face in the era of globalization, such as the loss of the idiosyncratic status of non‐Western modernity that Japan has long enjoyed; post‐(self)Orientalist cultural othering; and the transnational alliance of media and cultural industries in a global cultural economy of branding the nation through media and consumer cultures, all at the expense of the issue of intensifying migration and multicultural situations in the urban space. It will be suggested that both the film and Japanese critiques of the film are lost in the actuality of Tokyo (indeed, of Japan) and its populace, which is being radically transformed by intensifying transnational flows of people, capital, and media imagery.  相似文献   

16.
Abstract

In December 2005, a film called Be With Me, by Singapore director, Eric Khoo, was disqualified from entering the Best Foreign Language Film category at the following year’s Academy Awards on the grounds that it contained ‘too much English’. An Academy spokesperson attempted to explain this decision with what was apparently obvious, that ‘English is not a foreign language’. In an age where issues of cultural migration, hybridity, diaspora and globalisation are de rigueur, this intractable declaration seems almost comic. However, it indicates a continued ambivalence in the role of the English language in the making of a cultural identity: the perennial post‐colonial conundrum that shows no sign of going away. Singapore’s post‐independence decision to keep English as the first language of the country means that the use of English, albeit with local variations, is a quotidian reality. I would like to use this incident to reflect, not so much on the politics of Oscar selection, as perhaps more importantly, on the implications it presents for the internationalisation, and thus the ownership, of English, as well as its role as a marker for both local and global subjectivities – especially when the irony of the situation is compounded by the fact that Khoo’s film is, in effect, mostly silent.  相似文献   

17.
Abstract

This paper discusses one way to articulate queer male identity politics in 1990s Japan through Fran Martin’s conceptualization of the ‘mask’ (Martin 2003 Martin, Fran. 2003. Situating sexualities: queer presentation in Taiwanese fiction, film and public culture, Hong Kong: Hong Kong University Press.  [Google Scholar]). By comparatively examining two key Japanese ‘gay’ coming‐out narratives, the paper shows how a reading of queer subject formation in the decade through a metaphor of ‘masking’ can shed light on the complex scenarios functioning beneath the surface of identity politics. I argue that the notion of ‘masking’ is useful in reading the multiple axes incorporated into queer identity formation in Japan in the context of globalization. The paper further refutes any reductive claim that queer identity in Japan can be understood in terms of essentialist epistemological binaries, such as global/local, West/non‐West, and Japan/abroad.  相似文献   

18.
Abstract

How is the content of a literary canon, or tradition to be configured? What counts as a literary archive? More than 25 years after Edward Said’s Orientalism (1978 Said, W. Edward. 1978. Orientalism, New York: Vintage.  [Google Scholar]), it seems reasonable to assume, that central to such traditions, would be the work of those who live and work in the society that gives rise to it. In this review, such a location of Michele de Kretser’s new novel, The Hamilton Case, is offered, as a caution to metropolitan literary critics who continue to approach Sri Lankan writing in English, as Christopher Columbus approached ‘America’. It is argued that the novel owes much to, and can be read as echoing and elaborating the detective fiction of S.W.R.D. Bandaranaike, who was, also, the fourth Prime Minister of Ceylon (Sri Lanka), 1956–59.  相似文献   

19.
Abstract

In about half a decade since May 1998, changes have taken place in the content, production, distribution, exhibition, and discourse of Indonesian cinema. During Reformasi (1999–2001), the rules and regulations of cinema authorized under the New Order government of President Suharto began to be contested and re‐negotiated. The rise of new film genres and changes in concepts about existing genres and formats took place, new discourses emerged, and different communities and institutions arose that identified themselves with certain film genres or which used the medium of film for particular means, such as a medium for advocacy of human rights issues. Five to six years after 1998, it is apparent that besides changes, there are also many continuities: many old film institutions and structures for film production, distribution, and exhibition are still in place, and topics of discourses often recall past discourses of the New Order period or those held in the newly independent 1950s. This paper considers some of the changes in the understanding of genres and formulas within horror films, and discusses modes of representation and constraints in choices of subject matter in narrative practices in contemporary Indonesian cinema.  相似文献   

20.
Abstract

This paper examines the ambiguous nature of Murakami's criticism toward the postwar Japanese condition – as the artist most effectively captured in his phrase ‘A Little Boy,’ which was also the title of his curated exhibition at the Japan Society of New York in 2005 Murakami, Takashi. 2005. “‘Earth in my window’”. In Little Boy: The Arts of Japan's Exploding Subculture, Edited by: Murakami, Takashi. 98–149. New York and New Haven: The Japan Society and Yale University Press. Linda Hoaglund (trans.) [Google Scholar]. As Murakami wrote in his introduction to the catalogue, demilitarized Japan after the Second World War underwent a collective sense of helplessness, and the metaphor of a little boy is intended to describe Japan's supposedly unavoidable reliance on its big brother, America. The name ‘Little Boy,’ in fact, originates from the code name used by the American military for the atomic bomb dropped on Hiroshima in 1945. The proliferation of ‘cuteness’ in Japanese contemporary art, which draws upon youth culture, especially otaku culture, evinces a common urge among the postwar generation in Japan to escape from their horrible memories and sense of powerlessness. Murakami's rhetorical analysis of Japan's self‐image seems, however, contradictory, given his extremely aggressive business tactics, which can find no counterpart in the Western art world – not even in the efforts of Murakami's predecessor, Andy Warhol. Like My Lonesome Cowboy (1998), whose hyper sexuality defies its pubescent and immature appearance, his art, theory, and art marketing indicate the paradoxical nature of his theory of impotence. By focusing on his manifesto and writings published on the occasion of his 2005 Murakami, Takashi. 2005. “‘Earth in my window’”. In Little Boy: The Arts of Japan's Exploding Subculture, Edited by: Murakami, Takashi. 98–149. New York and New Haven: The Japan Society and Yale University Press. Linda Hoaglund (trans.) [Google Scholar] exhibition and his style of managing Kaikai Kiki Ltd., this paper delves into the dual nature of Murakami's interpretation of postwar Japanese art and culture, particularly in relation to those of America.  相似文献   

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