I intend to underline the melodramatic structure of both Japanese furusato movement and the Chinese film Nuan to argue that the melodramatic adaptation from the original story into the current film plays a central role in assuring a smooth assimilation of the cinematic representation
of Chinese ethnicity into current Japanese discourses of nostalgia. Moreover, Japanese visual consumption of cross-cultural nostalgia in the form of Chinese melodrama reinforces the trends of internationalizing and feminizing furusato tradition. Based on this analysis, in the conclusion I
will give a re-examination of the celebrated new cross-cultural turn and the real signification of the formula of Japanese nostalgia and Chinese melodrama.
Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.