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1.
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   

2.
Abstract

Hou Hsiao‐Hsien was invited to Singapore to talk about himself. In the speech, he focused on talking about his family background, his childhood memories, life experiences and how these experiences affected his life, and also how he made his films. Furthermore, as Taiwan had gone through many drastic political and economic changes, especially after the lifting of Martial Law, these conditions influenced Hou’s life and his films, too. That is, Hou’s films presented not only the changes in a rapidly urbanizing rural society, but also the important events of Taiwan’s history. At the end of the speech, Hou also mentioned that realizing the importance of social responsibilities, he would like to get more involved in the public sphere in order to make a difference in society.  相似文献   

3.
Abstract

This article explores the entangled and contradictory processes of territorialisation and deterritorialisation that have shaped the hardcore punk scene in Bandung, Indonesia, while questioning the binary model of globalisation and localisation. The formation of the Bandung scene has certainly involved processes of local adaptation, translation, and territorialisation, but these cannot be disentangled from the global styles, orientations, and networks associated with hardcore punk. Through their active participation in global hardcore, Bandung's punks adopt a standpoint of underground cosmopolitanism that goes beyond a merely mimetic relationship to Western scenes. Their valorisation of local “Do It Yourself” production and performance reflects the value practices of global hardcore punk, and the social relationships that constitute the local scene extend beyond any straightforwardly spatial definition of the “local.” At the same time, this global orientation takes on particular locally-inflected meanings in the specific cultural and political environment of Bandung, Indonesia.  相似文献   

4.
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   

5.
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   

6.
ABSTRACT

Chen Yingzhen has been regarded as Taiwan's utmost representative leftist intellectual. This article tries to reconstruct Chen's historical significance in Taiwan's “sixties” in a broader perspective. The 1960s in Taiwan was a peculiar period. While there was a global youth rebellion, Taiwan's postwar baby boom generation, who had just been re-educated as Chinese, were going through a cultural “renaissance”. They started to put into practice what they had learned and to realize their creativities in all aspects—taken as a whole, these efforts could be understood as this generation's attempt to achieve self-realization. Chen Yingzhen and his works served as a significant initiating and guiding force during this time. The fact that there were no dominating ideologies during this period allowed room for this wave of creativity to flourish.  相似文献   

7.
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   

8.
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   

9.
Abstract

Through much of post‐colonial history and particularly during the so‐called ‘New Order’ (under General Suharto), Indonesian citizens of ethnic Chinese descent have been caught in a strangely ambiguous position: they have enjoyed enormous economic power while at the same time being threatened with politico‐cultural effacement. This paper is an attempt to understand that ambiguity in relation to the Indonesian cinema – both around questions of industry history and around issues of representation of national and ethnic identity on screen. The paper traces the presence, the erasure and the absent‐presence of Indonesia's ethnic Chinese minority from the establishment of a film industry in Indonesia in the 1930s to the post‐New Order political shifts, opening up possibilities for a new public discourse of Chineseness. I argue however that the openness of current Indonesian culture and politics, while providing the necessary condition for re‐imagining the Chinese Indonesians, does not ensure a radical shift in a politics of representation, deeply embedded in the textual practices of the film industry and more widely in the cultural and political history of modern Indonesia.  相似文献   

10.
Abstract

Hong Kong's film industry has been living through and beyond the 1997 handover to China. Along a complicated socio-economic and cultural heritage, the city's “crisis cinema” successfully milked takeover fears for an anarchic display of showmanship. Local filmmaking conditions, popular narratives and aesthetics from that time can be identified as ingredients in a “chaotic formula” that instigated Hong Kong cinema's “Golden Age.” Unlike other film industries, which point to their disaster centres in a search or celebration of national identity, Hong Kong survived at a fragile historic juncture largely by sailing around the cliffs of political affront and resorting to metaphorical speech instead. Yet, following the handover, the film industry has retired its previous attitudes about itself and the future; it has integrated a new “China factor” and riddled cinema with contradictory statements about the “condition” of Hong Kong. System failure, madness and identity theft in crime stories appear alongside celebratory historicism, cultural allegiance and escapist spectacle, especially in Hong Kong-China co-productions. This paper follows the evolution of the crime genre along general dynamics and transformations of the formula from the 1980s, past the turbulent 1990s and into recent postcolonial Hong Kong, in which the inability to formulate a new crisis, or the resolution of the previous one, has put cinema itself into crisis.  相似文献   

11.
Abstract

After the Regulations on the Administration of Movies came into force in 2002, Johnnie To became famous for sticking with the Hong Kong market while Hong Kong filmmakers rushed north. In Drug War, his 50th film, he decided to bring his unique genre to the Mainland for the first time. Drug War was the first Johnnie To gangster film to be shot entirely in the Mainland. Despite its outstanding box office record in the Mainland, some Johnnie To fans would lament that his typical style is missing in Drug War, a film that has become “realistic.” This paper argues that Johnnie To's “northern expedition.” backed up by a tradition of translations between business and pleasure, has to be interpreted against the backdrop of his production company Milkyway Image (HK) Ltd. Johnnie To, as a migrant crossing the border, brought with him the long tradition of cultural translations from Milkyway Image, which acted as a “seed of the untranslatable” in Homi Bhabha's term. It was this untranslatability of Milkyway-cum-Hong Kong flavour that distinguished To from other Hong Kong directors who were assimilated into the Mainland market as a simple mélange. To capture the rich inter-textual allusions to not only Milkyway Image but also to Hong Kong in Drug War helps one to understand how Hong Kong cinema can move on in the age of Chinese cinema.  相似文献   

12.
ABSTRACT

In 1973, the pop music industry in the Philippines, long dominated by the American Top 40, was jolted by the emergence of a new kind of sound that delivered soulful Filipino lyrics in the medium of Western rock. At about the same time the protest movement found, in the popular forms of Western rock and folk, powerful vehicles for cultural resistance. This experimentation within and outside the industry generated great interest across social classes and opened many possibilities for new kinds of popular music, later to be called Pinoy (slang for Filipino) rock or Pinoy pop music. This article looks into the dynamics of Pinoy pop/rock and protest music during the period of authoritarian rule and after, marking their points of intersection and divergence and analyzing the factors that account for the rich popular music production in the 1970s and the 1980s.  相似文献   

13.
This essay examines the career of the Shafi?ī jurist and logician Sirāj al-Dīn Urmavī (1198–1283), who combined his scholarly and judicial activities with ambassadorial appointments to Frederick II, King of Sicily and Holy Roman Emperor, and the Ilkhan Hülegü. Originally from Azerbaijan, Sirāj al-Dīn spent most of his professional life in Ayyūbid Cairo and, from 1257, in Seljuk Konya, where he spent the final decades of his life as chief qadi. Through a contextualised reading of the extant biographical information for Sirāj al-Dīn, the article draws particular attention to two aspects of his physical and professional trajectory. First, the essay situates Sirāj al-Dīn's career in the context of processes of cultural change in thirteenth-century Anatolia. It seeks to demonstrate both the transfer and adaptation to the Anatolian urban milieu of social–cultural patterns attested for the a?yān in neighbouring predominantly Muslim societies, and the shaping of the social and cultural functions of immigrant scholars to Anatolia by local conditions. Second, the article identifies Sirāj al-Dīn as a prominent participant in an intellectual community engaged in inter-cultural exchange across political and confessional boundaries in the thirteenth-century eastern Mediterranean.  相似文献   

14.
The UK Film Council established a Research and Statistics Unit in order to gather data relating to film to inform the development of UK Film Council strategy and to provide an information service to the industry, government, the arts and cultural sector and the wider research community. The Research and Statistics Unit draws data from both official and unofficial sources and commissions its own special-purpose studies to gather information relevant to the strategic objectives of the Council. Key tasks are the measurement of the size of the market for film and the various elements of the film value chain, the performance of films supported by the UK Film Council and the performance of UK films in general. Special-purpose research projects currently include a detailed survey of the film production workforce, a study of the economic impact of the UK screen industries and studies of the social impact of local cinemas and the experience of Black- and Minority-led film production companies. A range of industry and official partners are collaborating in these studies. The Research and Statistics Unit also provides statistical and policy analysis relating to the wider policy environment of UK film, including issues such as the future of film tax incentives. This analysis has been developed within the HM Treasury ‘Green Book’ framework with particular reference to understanding market failure in relation to film. Central to the market failure argument is the cultural value of film in both its qualitative and its quantitative aspects. UK Film Council research is placed in the context of the literature on hedonic pricing and contingent valuation. The industrial challenges of increasing cultural value are discussed. Finally, consideration is given to the potential of film to contribute directly to ‘public value’.  相似文献   

15.
Abstract

This paper investigates the conditions of the manufacture of low‐cost technology in China with the examples of ‘pirated’ VCD players, ‘no‐name’ DVD players, and Shenzhen’s development as a techno‐urban city. It emphasizes the significance of the cultural logic of original equipment manufacturers (OEMs) and argues that the various transformations and deflections that are derived from ubiquitous OEM experiences have gone beyond the original model of an authorized OEM, experiences that are to some extent embodied in the transgression of brand name and patent hegemonies, which are mainly controlled by high technology companies. OEMs have been associated with China’s current imperative and uninhibited development of low‐cost technology capitalism. ‘Made in China’ signifies the production of any product, legal or illegal, for transnational high technology giants or domestic technology manufacturers. Learning to ‘become an OEM’ in China has partly resulted in excessive technological mimesis that may be part of an unauthorized, underground economy that is based on low‐cost technology. Based on the Shenzhen experience, part of this study will show industrial production‐oriented OEM cultures in which illegal operations and counterfeit trade are incorporated, even in city projects that are shared by municipal governments and Chinese technological companies, and undergo spatial restructuring in the development of the economy, consumerism, and urbanism.  相似文献   

16.
Abstract

This paper refutes the dominant assumption that Taiwan, unlike Mainland China, has developed a greater degree of tolerance for non‐normative sexual expressions as a result of its democratization. Recent legal and cultural changes indicate that Taiwan’s democratization consists of tendencies and repressive countertendencies. At the same time, this contradictory development has uniquely enabled a body of indigenous Marxist writings that mobilizes different senses of ‘queerness’ to demonstrate that the official celebration of diversity and human rights has actually further alienated and disempowered sex workers, promiscuous homosexuals, gay drug‐users, and other social subjects that are considered to be a threat to the liberal‐democratic order. I offer a reading of the critical writings of Josephine Ho, Yin‐bin Ning, Ding Naifei, and Wang Ping since the 1990s to explain why Queer Marxism in Taiwan is founded on a strong a‐statist discourse. I argue that a Queer Marxist intellectual practice emerged in Taiwan because liberal pluralism, institutionalized in what these critics call ‘state feminism,’ has failed to redress effects of social exclusion that (1) persist not despite of, but precisely because of, post‐martial law liberal reforms, and that (2) diverge in significant ways from individual experiences as members of officially defined minority groups (women, aborigines, migrant workers, or homosexuals). If social structuration is not always synchronic or isomorphic with state‐engineered legal changes, this difference also provides the occasion for Queer Marxists to interrogate the intellectual division of labor between feminism, assumed to be the analysis of gender as a non‐pluralizable category, and queer theory, assumed to be the analysis of sexuality as a non‐singular but personifiable category. Only by distinguishing between social relations and social identity can we comprehend how the rise of the Taiwanese Independence Movement played a key role in the naturalization of homosexuality as a fictive ethnicity, to which Queer Marxism developed as a historical response. As a geopolitically specific analysis of the aporia of substantive personhood, the Queer Marxism in Taiwan I re‐historicize is also a significant contribution to Marxist critique of liberal formalism that is of use to readers across the globe.  相似文献   

17.
Since the 1980s, popular cultural products have criss‐crossed the national borders of East Asian countries, enabling a discursive construction of an ‘East Asian Popular Culture’ as an object of analysis. The present essay is a preliminary attempt to provide some conceptual and analytic shape to this object, delineated by its three constitutive elements of production, distribution and consumption. Each East Asian location participates in different and unequal levels in each of these component processes. Production can either be located entirely in a single geographic location or, alternatively, each of the necessary constituent sub‐processes can be executed from different locations; preference for either arrangement tends to reflect the relative dominance of the production location in exporting its finished products. Consumption and thus consumers are geographically located within cultural spaces in which they are embedded. Meanings and viewing pleasures are generated within the local cultures of specific audience. Conceptually, among the several possible consumption positions, the one in which an audience watches an imported programme is most intriguing. In this viewing position, differences between the cultures of the location of consumption and that of the production location become most apparent. The audience member has to bring his or her own cultural context to bear on the content of the imported product and read it accordingly. In this sense, the cultural product may be said to have crossed a ‘cultural’ boundary, beyond the simple fact of its having been exported/imported into a different location as an economic activity. Such an audience position requires the consumer to transcend his or her grounded nationality to forge abstract identification with the foreign characters on screen, a foreignness that is, in turn, potentially reabsorbed into an idea of (East) ‘Asia’; a potential ‘East Asian identity’, emerging from consumption of popular cultural products, is thus imaginable.  相似文献   

18.
Abstract

Press reviews of Hou Hsiao‐Hsien’s films appeared in a range of European magazines at a time when Hou’s films were hardly, if at all, available for watching in European cinemas. This essay asks what, in this context, may have been the reviews’ function. By way of an examination of a representative sample of these texts, I argue that, far from negotiating a relationship between, on the one hand, the producers, distributors and exhibitors of Hou’s films and, on the other hand, Hou’s European public, reviews of Hou’s films served to mediate the gradual and capillary instillation of new modes of viewing films. Reaching Europe very sparingly at a time when European cinemas had finally capitulated to the increasingly aggressive marketing strategies of distributors of Hollywood produce, the construction of Hou Hsiao‐Hsien as an auteur became available for the ‘educational’ realignment needed in order to sell Hollywood cinema better, not in spite of, but because of, the negligible European circulation of Hou Hsiao‐Hsien’s films.  相似文献   

19.
ABSTRACT

Before the emergence of the modern sense of popular music in China, the uses of music in that country have been instrumental in serving political purposes for the state. The modern form of popular music began to enter China through Hong Kong and Taiwan – the two very political locales in which we could observe China’s political economy through the reception of their music in mainland China. How the Chinese authorities coped with the production, distribution and consumption of this ‘foreign’ popular music, is reflective of the swing of the pendulum between relaxation and control, and hence the changing ideologies of the state. Based on the cultural and institutional analysis on a few classical Chinese popular singers since the mid‐1980s, this paper illustrates such a transformation. The paper argues that the Chinese authorities have evolved from a dictatorial authority, which chose to control popular music by means of direct bans and censorship, to an active agent, through various strategies, managing and producing a kind of popular music that can be conducive to, and be resonant with, the national ideologies.  相似文献   

20.
Abstract

After having lain dormant for some 20 years during 1973 and 1991, the Singaporean film industry is experiencing a revival. Films produced since the early 1990s have been resolutely ‘local’ in their portrayals in an effort to ground this emergent cinematic modernity. Only a handful of these films have, however, received any international attention; most remain ‘too local’, ‘too colloquial’ to be exported further afield. This paper explores those visions or versions of the local presented in contemporary films from Singapore that simultaneously manufacture a brand of foreignness assimilable by international audiences. Through an overview of films from the revival period, this paper will show that the images that do travel successfully overseas are those that portray the dark side to Singapore’s road to economic modernization, the failed processes of an Asianized modernity. It is these images, representing one vision of an ‘authentic’ social reality, that is recognizable by international audiences in the context of previous successes by Asian films utilizing a shared form of (local) expression. My question is whether we can read these images as a particular kind of ‘slang’ – a vagabond expression that represents a filmic vernacular that also strategically invokes a cinematic modernity for the Singaporean film industry. This argument may extend to other (emergent) Asian cinemas that also participate in the production of this particular brand of foreignness. The paper will therefore provide some initial speculations towards the regionalization of cinema and ask whether such a move might be desirable and what its purpose might be.  相似文献   

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