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| Author | : Wimal Dissanayake |
| Publisher | : Cambridge University Press |
| Total Pages | : 300 |
| Release | : 1993-05-28 |
| Genre | : Drama |
| ISBN | : 9780521414654 |
This unique study examines the importance of melodrama in the film traditions of Japan, India, China, Indonesia, the Philippines, and Australia.
| Author | : Kathleen McHugh |
| Publisher | : Wayne State University Press |
| Total Pages | : 276 |
| Release | : 2005 |
| Genre | : Melodrama in motion pictures |
| ISBN | : 9780814332535 |
Examining the theoretical, historical, and contemporary impact of South Korea's Golden Age of cinema.
| Author | : Dimitris Eleftheriotis |
| Publisher | : University of Hawaii Press |
| Total Pages | : 490 |
| Release | : 2006-03-31 |
| Genre | : Social Science |
| ISBN | : 9780824830854 |
The West’s current fascination with Asian cinema must be viewed in the context of a complex and often problematic relationship between Western scholars, students, viewers, and Asian films. This book examines a number of detailed case studies (such as the films of Ozu, Bruce Lee, Hong Kong and Turkish cinema, Hindi melodramas, Godzilla films, Taiwanese directors, and Fifth Generation Chinese cinema) and uses them to investigate the limitations of Anglo–U.S. theoretical models and critical paradigms. By engaging readers with familiar areas of critical discourse (such as postcolonial criticism, "national cinema," "genre," "authorship," and "stardom") the book aims to introduce within such contexts the "unfamiliar" case studies that will be explored in depth and detail.
| Author | : Darius Cooper |
| Publisher | : |
| Total Pages | : 108 |
| Release | : 2005 |
| Genre | : Performing Arts |
| ISBN | : |
Born on 9 July 1925 into a Saraswat family of Mangalore and educated in the liberal climate of Calcutta, Guru Dutt started his own production company in 1954 with Aar Paar, and never looked back till Sahib Bibi aur Gulam, 1962, his last film. On 9 October 1964, he committed suicide. His oeuvre is now widely regarded as one of the most rich and significant legacies of Indian cinema, amongst the finest examples of the melodrama mode. The aim of this volume is to lay before the reader a particular melodramatic tradition of the Hindi film that Guru Dutt typified. The critical fragments spread over the book s six chapters are all taken from the body of work done by western critics in elevating the Hollywood melodrama, primarily of the forties and fifties, to critical acceptability and respectability. Dutt s Indian melodramas, functioning around the same time, seem to be assembled in very similar ways and when examined under these rubrics, reveal an astonishing level of vision and craftsmanship. Darius Cooper is Professor of Literature and Film in the English Department at San Diego Mesa College, USA. His first book, Between Tradition and Modernity: The Cinema of Satyajit Ray was published by Cambridge University Press in 2000. His essays on Indian cinema have appeared in Film Quarterly (Berkeley), East-West Film Journal (Hawaii), The Journal of Commonwealth and Post-Colonial Studies (Georgia), Women s Studies (Claremont), The Toronto South Asian Review (Canada), Asian Cinema (Pennsylvania) and in the anthology Colonialism and Nationalism in Asian Cinema (Indiana). He has also been published widely as a poet and short fiction writer.
| Author | : Wimal Dissanayake |
| Publisher | : Indiana University Press |
| Total Pages | : 266 |
| Release | : 1994-10-22 |
| Genre | : Performing Arts |
| ISBN | : 9780253208958 |
" . . . an important collective work for communication practitioners, students, and scholars who want to have a deeper understanding of film making in Asia and of the promotion of nationalism through communication." —Media Asia " . . . a momentous contribution to the study of colonialism and postcoloniality in Asia . . . " —The Journal of Asian Studies "This is an excellent model for studies in how the popular, art, and experimental cinemas function in the consideration of nationhood as a configuration of symbols. . . . This anthology provides an interesting discussion by offering a theoretical framework from which to examine the complex topics of nation, state, identity formation, and collective history in the realm of cinema. It becomes an even more effective tool by playing itself out within a diverse Asian context." —Afterimage Essays examine the representation of the interlocking discourses of nationhood and history in Asian cinema, dealing with film traditions in Japan, China, Taiwan, Korea, Vietnam, Thailand, Indonesia, India, Sri Lanka, and Australia.
| Author | : Yiman Wang |
| Publisher | : University of Hawaii Press |
| Total Pages | : 234 |
| Release | : 2013-03-31 |
| Genre | : Performing Arts |
| ISBN | : 0824837843 |
From melodrama to Cantonese opera, from silents to 3D animated film, Remaking Chinese Cinema traces cross-Pacific film remaking over the last eight decades. Through the refractive prism of Hollywood, Shanghai, and Hong Kong, Yiman Wang revolutionizes our understanding of Chinese cinema as national cinema. Against the diffusion model of national cinema spreading from a central point—Shanghai in the Chinese case—she argues for a multi-local process of co-constitution and reconstitution. In this spirit, Wang analyzes how southern Chinese cinema (huanan dianying) morphed into Hong Kong cinema through trans-regional and trans-national interactions that also produced a vision of Chinese cinema. Among the book’s highlights are a rereading of The Goddess—one of the best-known silent Chinese films in the West—from the perspective of its wartime Mandarin-Cantonese remake; the excavation of a hybrid genre (the Western costume Cantonese opera film) inspired by Hollywood's fantasy films of the 1930s and produced in Hong Kong well into the mid-twentieth century; and a rumination on Hollywood’s remake of Hong Kong’s Infernal Affairs and the wholesale incorporation of “Chinese elements” in Kung Fu Panda 2. Positing a structural analogy between the utopic vision, the national cinema, and the location-specific collective subject position, the author traces their shared urge to infinitesimally approach, but never fully and finitely reach a projected goal. This energy precipitates the ongoing processes of cross-Pacific film remaking, which constitute a crucial site for imagining and enacting (without absolving) issues of national and regional border politics. These issues unfold in relation to global formations such as colonialism, Cold War ideology, and postcolonial, postsocialist globalization. As such, Remaking Chinese Cinema contributes to the ongoing debate on (trans-)national cinema from the unique perspective of century-long border-crossing film remaking.
| Author | : Ben Singer |
| Publisher | : Columbia University Press |
| Total Pages | : 386 |
| Release | : 2001-02-05 |
| Genre | : Performing Arts |
| ISBN | : 0231113293 |
Surveying the expanding conflict in Europe during one of his famous fireside chats in 1940, President Franklin Roosevelt ominously warned that "we know of other methods, new methods of attack. The Trojan horse. The fifth column that betrays a nation unprepared for treachery. Spies, saboteurs, and traitors are the actors in this new strategy." Having identified a new type of war -- a shadow war -- being perpetrated by Hitler's Germany, FDR decided to fight fire with fire, authorizing the formation of the Office of Strategic Services (OSS) to organize and oversee covert operations. Based on an extensive analysis of OSS records, including the vast trove of records released by the CIA in the 1980s and '90s, as well as a new set of interviews with OSS veterans conducted by the author and a team of American scholars from 1995 to 1997, The Shadow War Against Hitler is the full story of America's far-flung secret intelligence apparatus during World War II. In addition to its responsibilities generating, processing, and interpreting intelligence information, the OSS orchestrated all manner of dark operations, including extending feelers to anti-Hitler elements, infiltrating spies and sabotage agents behind enemy lines, and implementing propaganda programs. Planned and directed from Washington, the anti-Hitler campaign was largely conducted in Europe, especially through the OSS's foreign outposts in Bern and London. A fascinating cast of characters made the OSS run: William J. Donovan, one of the most decorated individuals in the American military who became the driving force behind the OSS's genesis; Allen Dulles, the future CIA chief who ran the Bern office, which he called "the big window onto the fascist world"; a veritable pantheon of Ivy League academics who were recruited to work for the intelligence services; and, not least, Roosevelt himself. A major contribution of the book is the story of how FDR employed Hitler's former propaganda chief, Ernst "Putzi" Hanfstengl, as a private spy. More than a record of dramatic incidents and daring personalities, this book adds significantly to our understanding of how the United States fought World War II. It demonstrates that the extent, and limitations, of secret intelligence information shaped not only the conduct of the war but also the face of the world that emerged from the shadows.
| Author | : José B. Capino |
| Publisher | : University of California Press |
| Total Pages | : 325 |
| Release | : 2020-01-07 |
| Genre | : Performing Arts |
| ISBN | : 0520314638 |
Lino Brocka (1939–1991) was one of Asia and the Global South’s most celebrated filmmakers. A versatile talent, he was at once a bankable director of genre movies, an internationally acclaimed auteur of social films, a pioneer of queer cinema, and an outspoken critic of Ferdinand Marcos’s autocratic regime. José B. Capino examines the figuration of politics in the Filipino director’s movies, illuminating their historical contexts, allegorical tropes, and social critiques. Combining eye-opening archival research with fresh interpretations of over fifteen of Brocka’s major and minor works, Martial Law Melodrama does more than reveal the breadth of his political vision. It also offers a timely lesson about popular cinema’s vital role in the struggle for democracy.
| Author | : Qijun Han |
| Publisher | : Cambridge Scholars Publishing |
| Total Pages | : 290 |
| Release | : 2016-03-08 |
| Genre | : Social Science |
| ISBN | : 1443890014 |
There has been an increasing recognition of the fluidity and ambiguity of ethnic identities within the context of global mobility. With that in mind, how have films constructed the identity of ethnic Chinese in the United States? This book addresses this issue through three sub-questions. First, why is the family narrative so characteristic of films about Chinese Americans in transnational Chinese cinema? In other words, how and why are images of Chinese or Chinese Americans in transnational Chinese cinema different from those in Hollywood movies? Second, how does transnational Chinese cinema define and negotiate the aesthetic conventions of melodrama commonly used to depict Chinese American families? In terms of establishing melodrama as an evolving mode of, how does Chinese American cinema historically connect with both Hollywood and Chinese cinema? Third, what have the narrative treatments of Chinese American families in transnational Chinese cinema contributed to the ongoing representation of Chinese culture and construction of ethnic Chinese identities in Western societies? This book traverses fields such as cultural studies, Chinese studies, media studies, American studies, and film studies, and engages with a select corpus of films from the 1990s to the 2000s, directed by Chinese American, Taiwanese and Hong Kong filmmakers and produced in the USA, Taiwan, Hong Kong and mainland China, to analyze the role the American Chinese family plays in their work. With sensitivity towards transnational bonds and historical processes, a negotiation process of three sets of conflicting forces has subsequently emerged: the traditional and the modern, the national and the transnational, and Chinese American identity crisis in favor of a Chinese identity or a true American identity. Contrasting cultural beliefs undoubtedly create cross-cultural and generational conflicts within the family, yet also open the way to negotiation and compromise. This research on the cinematic depiction of Chinese Americans reveals the historically significant transnational connection among Chinese American, Chinese, and American cultures. On the one hand, ethnic Chinese are represented by boundaries that establish and define the Chinese American community against other communities, and yet, on the other hand, the representation of family life and structure of Chinese immigrants is multiple and fluid, as culture itself is unstable and uncertain. Therefore, a process of fixation and a process of fluidity seem to take place at the same time.
| Author | : Stephen Teo |
| Publisher | : Routledge |
| Total Pages | : 290 |
| Release | : 2013-05-07 |
| Genre | : Performing Arts |
| ISBN | : 1136296093 |
This book explores the range and dynamism of contemporary Asian cinemas, covering East Asia (China, Japan, South Korea, Hong Kong, Taiwan), Southeast Asia (Thailand, Singapore, Malaysia), South Asia (Bollywood), and West Asia (Iran), in order to discover what is common about them and to engender a theory or concept of "Asian Cinema". It goes beyond existing work which provides a field survey of Asian cinema, probing more deeply into the field of Asian Cinema, arguing that Asian Cinema constitutes a separate pedagogical subject, and putting forward an alternative cinematic paradigm. The book covers "styles", including the works of classical Asian Cinema masters, and specific genres such as horror films, and Bollywood and Anime, two very popular modes of Asian Cinema; "spaces", including artistic use of space and perspective in Chinese cinema, geographic and personal space in Iranian cinema, the private "erotic space" of films from South Korea and Thailand, and the persistence of the family unit in the urban spaces of Asian big cities in many Asian films; and "concepts" such as Pan-Asianism, Orientalism, Nationalism and Third Cinema. The rise of Asian nations on the world stage has been coupled with a growing interest, both inside and outside Asia, of Asian culture, of which film is increasingly an indispensable component – this book provides a rich, insightful overview of what exactly constitutes Asian Cinema.
