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Article: Asian Citations: Postmodernism, Politics, and Global Cinema

TitleAsian Citations: Postmodernism, Politics, and Global Cinema
Authors
KeywordsChina
Taiwan
Hou Hsiao-Hsien
Postmodernism
Intertexuality
Issue Date2013
PublisherKorean Association of Literature And Film. The Journal's web site is located at http://www.dbpia.co.kr/Journal/IssueList/977
Citation
The Journal of Literature and Film = 문학과영상, 2013, v. 14 n. 1, p. 5-25 How to Cite?
AbstractFilm plays a critical role in creating a common ground for the exchange of political and aesthetic ideas between Asia and the rest of the world. The depiction of Asia on contemporary world screens serves as a site, sight, and citation—a place, an image, and a reference point—for an ongoing critique of global politics and film aesthetics. In this paper, I plan to show how transnational productions—made in and/or about Asia—use intensely self-reflexive techniques with a high degree of intertextuality in order to carve out a cinematic common ground. Film quotations, then, operate as part of a postmodern cultural marketplace, but, more importantly, they also link current motion pictures to past political movements and unresolved social issues that continue to fuel screen fantasies about Asia in the 21st century. Taking Hou Hsiao-Hsien’s Café Lumiere and The Flight of the Red Balloon as case studies, I plan to look at the various ways the films negotiate a space between Chinese-language filmmaking in Taiwan and the legacy of French and Japanese cinema, while simultaneously creating a site for a particular type of transnational Asian art cinema.
Persistent Identifierhttp://hdl.handle.net/10722/204954
ISSN

 

DC FieldValueLanguage
dc.contributor.authorMarchetti, G-
dc.date.accessioned2014-09-20T01:14:16Z-
dc.date.available2014-09-20T01:14:16Z-
dc.date.issued2013-
dc.identifier.citationThe Journal of Literature and Film = 문학과영상, 2013, v. 14 n. 1, p. 5-25-
dc.identifier.issn1229-9847-
dc.identifier.urihttp://hdl.handle.net/10722/204954-
dc.description.abstractFilm plays a critical role in creating a common ground for the exchange of political and aesthetic ideas between Asia and the rest of the world. The depiction of Asia on contemporary world screens serves as a site, sight, and citation—a place, an image, and a reference point—for an ongoing critique of global politics and film aesthetics. In this paper, I plan to show how transnational productions—made in and/or about Asia—use intensely self-reflexive techniques with a high degree of intertextuality in order to carve out a cinematic common ground. Film quotations, then, operate as part of a postmodern cultural marketplace, but, more importantly, they also link current motion pictures to past political movements and unresolved social issues that continue to fuel screen fantasies about Asia in the 21st century. Taking Hou Hsiao-Hsien’s Café Lumiere and The Flight of the Red Balloon as case studies, I plan to look at the various ways the films negotiate a space between Chinese-language filmmaking in Taiwan and the legacy of French and Japanese cinema, while simultaneously creating a site for a particular type of transnational Asian art cinema.-
dc.languageeng-
dc.publisherKorean Association of Literature And Film. The Journal's web site is located at http://www.dbpia.co.kr/Journal/IssueList/977-
dc.relation.ispartofThe Journal of Literature and Film = 문학과영상-
dc.subjectChina-
dc.subjectTaiwan-
dc.subjectHou Hsiao-Hsien-
dc.subjectPostmodernism-
dc.subjectIntertexuality-
dc.titleAsian Citations: Postmodernism, Politics, and Global Cinema-
dc.typeArticle-
dc.identifier.emailMarchetti, G: marchett@hkucc.hku.hk-
dc.identifier.authorityMarchetti, G=rp01177en_US
dc.identifier.hkuros238551-
dc.identifier.volume14-
dc.identifier.issue1-
dc.identifier.spage5-
dc.identifier.epage25-
dc.publisher.placeKorea-

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