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1.
Abstract

This study is an attempt to examine the ways in which popular culture can restructure the relationship between sexuality and power, through the case of Seoul Queer Films and Videos Festival, a cultural arena of newly emerged queer discourses in Korean society. In the past 10 years, queer discourses in Korea have undergone a rapid change. With heterosexual normativity being challenged and ‘queer’ being consumed as a cultural code, Korean spectators come to engage with a queer film festival in multilateral and sometimes contradictory contexts. This study will try to pose a controversial question to the heterosexual society by reading the complex interactions between film festivals, films and spectators while paying attention to the experiences of the participants in the Seoul Queer Films and Videos Festival and pointing at the political implications of queer films now in 2006. Through this, I try to look for possibilities of a queer cultural movement which rejects being co‐opted by the heterosexual society, constructs new ideas of social powers in relation with sexuality, and seeks alternative visions for such change in relations.  相似文献   

2.
Abstract

After the New Order stepped down in 1998 and the Department of Information was closed down in 1999, the Indonesian government loosened their control on film regulation. At that time, theatres rarely screened Indonesian films and there had been no film festivals in Indonesia for a long period. Meanwhile, advanced digital technology had provided a digital film camera – for the non‐professional user – that more people could afford. Some young Indonesians believed that lots of Indonesians had a digital film camera and used them to make films, instead of just recording family gatherings. These youngsters – mostly from big cities – came from different backgrounds and usually met at alternative film screenings in foreign cultures centres or the Indonesian Cinematheque. Most were well‐educated and dreamed of watching films from their own country. They therefore organized a film festival in 1999 under name ‘the Indonesia Independent Film‐Video Festival’. They chose a short‐film format for the festival because it was easier for common people to make a short film than a feature film with a digital camera. The organizer of the Indonesia Independent Film‐Video Festival established an organization in early 2000 named Konfiden. After 2000, Konfiden tried to promote Indonesian short films at international short‐film festivals such as the Oberhausen Short Film Festival and Tampere Short Film Festival. After 2002, Konfiden’s festival was not the only short film festival in Indonesia. Several film communities in Java started to organize short film festivals. The Konfiden’s next step is to build a film market, database, and to shape the quality for Indonesia short films.  相似文献   

3.
The ninth Shanghai Film Festival drew a close on June 25, 2006, which coincided with the centennial anniversary of the birth of Chinese lm. For all fans of this lm festival, the happy time during the festival will become a most valuable memory in their lifetime.An International Gala for Filmmakers It has been now generally acknowledged that the international fame of participant lm stars, directors and producers decides the international status of a lm festival. Many international stars hav…  相似文献   

4.
Abstract

The first Asian Lesbian Film and Video Festival, held in Taipei in August 2005, brought forth media art, social activism and cultural exchange on one occasion. It provided a rare opportunity to showcase the experience of Asian lesbians, which is vastly different from the experience of those in Western countries. While there were great similarities in their love experiences among the 36 Asian lesbian shorts selected, they also reflected the differences among the Asian countries in terms of local development of tongzhi culture and community as well as the visibility of tongzhis. Among the Chinese communities, Taiwan was seen to be at the forefront of the development of tongzhi culture, Mainland China was new to the movement, and Hong Kong was somewhere in‐between. Japanese and Korean videos took a critical and reflective attitude towards social regulations and mainstream thoughts, although witty and farcical at times. While the Filipinos show a more tolerant attitude to the Lesbian Gay Bisexual Transgender (LGBT) community, the major oppressive forces on lesbians were poverty, gender inequality and sexual violence. Only one Israeli documentary was shown at the film festival, which focused on lesbians living in the Jewish Orthodox traditions. The film won international acclaim and attracted much public attention to the issue. Films and videos were found to be an effective means to transcend language barriers and cultural differences for a true cross‐cultural exchange among Asian lesbians. During the few days of festival, a ‘queer nation’, not defined by nationalities or languages, but by the pursuit of love expressions, was constructed around The Taipei House.  相似文献   

5.
This paper, focusing on the short film, Dear Kim (2009), and a debate between Polish filmmaker Krzysztof Zanussi and Marxist intellectual P. Govinda Pillai at the International Film Festival of Kerala (IFFK) in 1998, attempts to understand the work done by the category of “world cinema” and the institution of the film festival in the formation of the subject of the region, in this case the south Indian state of Kerala. It focuses on the linguistic region formed in post-independence India, thought of as either mirroring or resisting the nation, and as a cultural resource necessary to inhabit the nation as a citizen. The paper argues for a conception of the subject of the region that is performative, where it negotiates multiple horizons of universality simultaneously. While the figure of the citizen provides it with one horizon of universality, the subject is not exhausted by it. In the case of Kerala, through the figuration of a conception of “world,” operationalized through the conduit of “world cinema,” often located in the institutional space of the film festival, the subject is able to access other horizons of universality, enabling it to transcend the particularities that a politics of location imposes on it.  相似文献   

6.
ABSTRACT

This paper proposes to use inter-Asian methodologies to reread Asian Canadian Studies. As an intellectual and political project, Asian Canadian Studies has largely been constituted through its responses to the Canadian nation-state and anti-racism alliances but has failed to seriously engage with Asia as a critical problematic. Informed by theories and practices of inter-referencing developed through Inter-Asia critique, we reconsider the specific pressures, local debates, and historical moments that have produced the field's central arguments and reframe the field as a series of localized reference points in dialogue with each other as well as with Asia. We conclude by turning to Madeleine Thien's novel Dogs at the Perimeter in order to ask what it might mean to localize Asian Canadian Studies and reposition it as part of a transpacific rather than nation-based formation.  相似文献   

7.
ABSTRACT

This essay examines the pedagogical practice of referencing my experiences as a transnational Korean American woman in the classroom and considers how it opens up space for domestic and international students of East, Southeast, and South Asian backgrounds to reflect on their different identities, histories, and cultures. In particular, it focuses on how this practice enables Asian students to share their experiences of and insights about racial difference, racism, and whiteness in Australia and other parts of the world. Building on the concept of Asian “inter-referencing” from Chua Beng Huat (2015), I coin the term “embodied inter-referencing” to describe the strategic ways I use autobiographical narrative to create an inclusive, interactive, and mutually respectful learning space. I centre here on how some Asian students respond to this strategy by telling their own stories and in the process, create transnational, diasporic, and inter-Asian affective communities inside and outside the classroom.  相似文献   

8.
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   

9.
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   

10.
Abstract

This paper is a comparative reading of two Malayalam films The Journey (Sancharram, 2004) and The Wandering Bird Does Not Cry (Deshadana Kili Karayarilla, 1986) as representative of differing trajectories of queer politics in the Kerala public sphere. It uses an analysis of the representative strategies of these two films, to interrogate the limits of a universal language of sexual identity politics. The paper places the two films in the different historical contexts in which they are produced, and deploys a film from an earlier time period to problematize some of the assumptions of contemporary queer politics. For this purpose it undertakes a close reading of the cinematic codes of both these films, especially the spatial arrangements in the films. I argue that the location of Sancharram in the LGBT discourse in India and abroad makes it so enmeshed in setting up an established meaning for the term ‘queer’ that the process of queering becomes one of stabilizing a chosen form of desire as the ideal one. In this process of setting up a stable trajectory for queer desire, it also freezes the spatial and social terrains of Kerala. The process of queering that Deshadana Kili Karayarilla undertakes is not one that attempts to set up a particular subject position as the queer subject position. It sets out to trouble the naturalized construction of the heterosexual couple and injects a sense of instability into the social sphere itself. The paper examines how some of the taken‐for‐granted assumptions of transnational queer politics, like the celebration of visible bodies, gets radically questioned when we turn to non‐metropolitan sites of analysis. It aims to look at how cultural texts can embody different modes of sexual politics, as activists struggle to coin strategies to articulate the political possibilities of non‐normative sexual practices in Kerala today.  相似文献   

11.
Abstract

This article begins with a discussion of the changing topography of cultural production in East Asia over the last 25?years, especially as it concerns the genre of independent documentary film, and then it turns to three independent documentaries filmed in Japan and North Korea, South Korea and Japan, and China, respectively: Yang Yong-hi's Dear Pyongyang (2005 Dear Pyongyang. 2005. Directed by Yang Yong-hi. Busan International Film Festival. [Google Scholar]), Mun Jeong-hyun's Grandmother's Flower (2007 Grandmother's Flower. 2007. Directed by Mun Jeong-hyun. Busan International Film Festival: [Google Scholar]), and Wang Bing's He Fengming: A Chinese Memoir (2006). Erased from the official historical record and excluded from public commemoration, the alternate history of pain traced by these documentaries resubmits the Cold War to examination from deep inside its most private wounds. In the process, the filmmakers encounter not only the memories of the earlier generation that lived through the most violent episodes of the Cold War, but also come to question their own history and identities within the process of the Cold War's decomposition.  相似文献   

12.
ABSTRACT

This article theorizes the affective forms that Asian-Indigenous alliances might take, using examples from contemporary Canadian film and literature as a cultural testing ground. Building on the efforts of scholars like Rita Wong, Larissa Lai, and Malissa Phung to trace a literary genealogy of Asian-Indigenous relations in Canada, the article first considers the structures of feeling which bolster efforts towards coalition-building between Asian settlers and First Nations. Rather than extending an optimistic or redemptive model, the article suggests that negative affect (or, what Sianne Ngai calls “ugly feelings”) ought to be taken seriously as both an unavoidable presence and a potential catalyst in and for active solidarity. The article then analyzes Sto:lo author Lee Maracle’s short story “Yin Chin” and Peter Blow’s documentary film A Village of Widows with an eye towards how bad feelings underpin the narrative calls to action in both texts. The article concludes by considering the role that bad feeling can and does play in terms of inter-referencing practices among cultural and historical scholars.  相似文献   

13.
ABSTRACT

In this essay, we stage a conversation about our experiences researching everyday histories of encounter between Asian and Asian diasporic subjects during the Pacific and Vietnam Wars. Through readings of materials from the archives of two empires, Britain and the United States, with bloody records of military intervention in east and south-east Asia, we show how wartime inter-Asian, Afro-Asian, and Asian diasporic geographies of relation overlapped with and animated one another, helping to (re)produce trans-local communities of affinity over space and time even as they also functioned as infrastructures for empire. Throughout, we reflect on the infrastructures – material, institutional, epistemological, affective – that make inter-referencing possible, both for our subjects and, importantly, for ourselves. If our archives resonate, what does this tell us about the trans-imperial durability of the intimate infrastructures we show taking shape in 1940s China and 1960s Vietnam respectively?  相似文献   

14.
Cannes Film Festival has drawn worldwide attention for its unparalleled international impact. And film professionals of the world can hardly resist the attraction of Golden Palm prize. This article reviews the ten landmark events in the historical relationship between Chinese film and Cannes Festival. 1956: Chinese film's relationship with Cannes Festival can date back to 1956. Although new China had yet to establish diplomatic relations with France, it dispatched a film delegation led by…  相似文献   

15.
Abstract

This paper proposes new conceptual frameworks for “inter-Asia studies” in order to be more appropriate for addressing and redressing the demands of global patriarchal capitalism as well as overcoming the “regime of separation” of Asian studies from African and/or Latin American studies. To do that, first, I will problematize the male-East Asia-metropolis centeredness of “inter-Asia.” Then, I will try to locate “inter-Asia studies” into the field of “tricontinental studies” invented by the decolonial and deimperial spirit of connection between the colonized continents of Asia, Africa and Latin America. In the third section, I will propose a “feminist inter-referencing reading” that involves shuttling back and forth between the postcolonial sub-regions of Asia, Africa and/or Latin America horizontally from the location and perspective of gendered subalterns rather than upward-mobile metropolitan feminists. The feminist standpoint that reading takes is combined with the conceptual frameworks of labor, ecology and ethnicity. It is also held that such a feminist inter-referencing reading needs the imaginative and interpretative metaphor of the “planet” to overcome the Westernized notion of the “nation” and “globe” as well as the concept of “universality shared by all humans” not monopolized by Westerners. Lastly, this paper will illustrate the new kind of “tricontinental studies” by providing an example of “feminist inter-referencing reading” which connects and compares the sub-regions of South Korea, Vietnam and Liberia.  相似文献   

16.
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   

17.
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   

18.
ABSTRACT

This paper examines the significance of reading two Korean American novels which address the issue of Japanese military sexual slavery (known as the “comfort women” system) in the context of Japan: Nora Okja Keller’s Comfort Woman and Chang-rae Lee’s A Gesture Life. I will explore how this act can facilitate the understanding of the militarized sexual violence in the present social and discursive context of Japan, where the issue suffers from a strong backlash. Lee’s A Gesture Life with its critique of multiple militarized imperialisms challenges the Japanese revisionists’ effort to deny the egregious wrongs of Japan’s military sexual slavery; it also responds to popular criticism in Japan that Korean/Americans disregard the practices of Western imperial and military violence and only condemn Japanese war crimes. The paper in turn also reads Keller’s Comfort Woman through the frame of Joy Kogawa’s Obasan, a Japanese Canadian novel which remembers the internment and U.S. atomic bombing of Nagasaki. My aim here is to examine both the risks and possibilities which this reading can generate. While it can help us see the comparable acts of remembering war sufferings from the standpoint of diasporas, it can also erase the non-equivalence between the two histories.  相似文献   

19.
ABSTRACT

Discourses of discovery have been important in a wide range of musical contexts, from early modern ideas about musical composition through to current forms of popular music production and consumption. Across these various contexts there are often inherent connections between discovery and colonialism, connections that become most apparent in non-Western socio-cultural and musical settings. In this article, I situate discourses of discovery within the “coloniality of power,” noting how colonial discovery can be more critically described as invention. From here, I turn to the genre of World Music as an example of how musical discovery is underpinned by inherently colonial perspectives, articulations of power, and relationships of dominance and subordination between Western and non-Western cultures. In contrast, I present the concept of interculturalism as a way of thinking about the possibilities of cultural in-between-ness beyond discovery, drawing on the practices of musicians who articulate intercorporeal and intercultural communication through performance.  相似文献   

20.
ABSTRACT

This article explores theoretical-methodological challenges in researching the formation of collective memory in the wake of dictatorship. The worldwide growth of memory sites suggests space crystallizes memory into stable formations. However, rather than monolithic discourses, environments attest to complex processes of memorialization and willful amnesia. I propose that research-led filmmaking can draw out spaces’ heterogeneous “stories in waiting.” Through the documentary After Trujillo, which revisits memory sites and ruins of Rafael Trujillo’s dictatorship from 1930 to 1961 in the Dominican Republic, I assess how working at the interface between research and film can (a) probe space’s testimonial capacity; (b) engage audiences in public debates about violent pasts; and (c) stimulate sustainable discussions through online platforms. Given that films still lack recognition as academic outputs, at stake here is the claim that creative methodologies constitute “a form of research” and “detectable research outputs.”  相似文献   

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