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- Volume 19, Issue 1, 2008
Asian Cinema - Volume 19, Issue 1, 2008
Volume 19, Issue 1, 2008
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The Road to Invincible Asia: Brigitte Lin Ching-hsia's Taiwanese Films
More LessWhenever the name of Brigitte Lin Ching-hsia emerges in any discussion of Hong Kong stardom, the image of Invincible Asia immediately appears. It indelibly associated the actress with a particular image in Hong Kong cinema. Lin's usually neglected Taiwanese films need some exploration and, hopefully, this study may spur further investigation. The nature of this study is archaeological. I have no knowledge of Chinese, have seen only some 11 films from this period, and can only engage in guesswork as to their more serious implications. But, despite the vast differences these films exhibit from Lin's later achievements, they are crucial towards understanding the particular way her star image developed over the years.
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Transcultural Sounds: Music, Identity, and the Cinema of Wong Kar-wai
Authors: Emilie Yueh-yu Yeh and Lake Wang HuA more popular account for Wong Kar-wai's international appeal suggests that his work is indebted to music video. But if the secret of Wong's achievement is indeed music video, how is Wong's style affiliated? Can music video sufficiently explain his popularity with audiences from Los Angeles, Tokyo, New York, London, and Paris? Why are his films appealing to viewers across so many different cultures and geographies? Is it because Wong, like other Asian directors, is adept at fashioning oriental enchantment with state-of-the-art sensations?
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The Carnal Hand and Fetishism in Wong Kar-wai's The Hand
More LessThis article will look specifically into the representation of the carnal hand and the fetishized hand in Wong Kar-wai's The Hand (2004) in relation to the induction of sexual desire and its fulfillment. The first part of this article is to bring up my observation on the differences between the male and female hand in the short film. The second part of this article will depart from the carnal hand and move to the discussion on various observable fetishes, which include the gloves, the cheongsam, and ultimately the hand itself. Furthermore, by using Freud's idea from his 1927 essay "Fetishism," I am going to suggest that the hand could be considered a substitute of the male's penis in the short film.
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Dark Side of Modernization: Bong Jun Ho's Memories of Murder (2003)
More LessIn this paper, it will be examined how Bong Jun Ho's Memories of Murder (2003, 2005 U.S. release) deals with the collective memory of modernization in Korea. Being the second top at the box office in 2003 in Korea, the movie is a crime film/detective story based on a true story. It is helpful to understand the historical background of modern Korea and its recent political and social conjuncture to understand the way Memories of Murder deals with the Korean past.
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Nostalgia and Anticipation: A Case Study of Contemporary Japanese Melodrama
More LessThis article traces the economic, social, and cultural development of Japan over the past few decades. The first part of the paper describes and analyzes some of the underlying anxieties and desires of the Japanese that have resulted from their country's historical development, particularly the burst of the economic bubble. The second part examines selected romantic melodramas that have been produced from the 1990s until recent years. It explores how the characterization and setting of these movies convey the nostalgic feeling of the Japanese towards their past, i.e. the time before the burst of the bubble economy.
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Chinese Cinema in the Global Age: Ashes of Time and the Human Condition
More LessThis paper will explore human suffering arising from desire through exploring the subjective dimension of time. In the course of this analysis, we will be comparing and contrasting insights from Buddhism, Schopenhauer, and Lacan, three perspectives which demonstrate not only thematic but also historical continuities and discontinuities
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Archetypes in Zhang Yimou's Films: Significance of Regional Culture
By Yuan GuoScholars of many disciplines, have provided theories on the relationship between place and childhood, adult memory (Glassberg, 2001: 113-118). Place is not empty; it is "storied." Wallace Stegner contends, "No place is a place until the things that have happened in it are remembered in history, ballads, yarns, legends, or monuments" (in Glassberg, 2001: 116). This paper examines the relationship between Zhang Yimou's filmic presentations and the culture of Shaanxi, his home province. My overall argument is that Shaanxi culture has been the archetypes for his filmic distinctiveness.
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Cinematic Geography, Martial Arts Fantasy, and Tsui Hark's Wong Fei-hung Series
By Weijie SongThis article considers an intriguing case of transnational cinematic geography, cultural translations,and productive appropriations in Hark's martial arts representations and (dis) enchanting "special effects" spectacle. No doubt, we can connect modern martial arts film with the historical writings on assassins in Sima Qian's The Historical Records. As well as a broad range of martial arts novels published in Hong Kong, Taiwan, and Mainland China in the 20th Century. This article also touches upon a great range of topics against the national and transnational backgrounds.
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When Sadako Meets Mr. Vampire: The Impact of Ringu on Hong Kong Ghost Films
More LessThis study investigates the cultural adaptation and appropriation of Japanese elements in Hong Kong ghost movies, using Ringu as the main reference. Discussing the impact of Ringu on Hong Kong ghost movies from historical, industrial, and cultural perspectives, it aims to deepen understanding of the interplay of cultural appropriation, domestication, and transnational cultural flows in Asian film making in the age of globalization.
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Marketing Boys' Love: Taiwan's Independent Film, Eternal Summer, and Its Audiences
More LessAfter winning Best Director and Best Picture honors at the 63rd Golden Globes, Ang Lee's Brokeback Mountain went on to win several other important awards at the Academy. Lee, as a major internationally acclaimed director, has been heavily employed to symbolize a fluid global upward mobility for local Taiwanese filmmakers. As expressed at a press conference, the Taiwanese government has hoped that the popularity and success of Brokeback Mountain will spur the development of all segments of Taiwan's film industry--financial planning, marketing, and film production and management, as well as the cultivation of new talent (Taiwan's GIO, 2007). This article examines how pleasures, desires, and identities function among gay men and teenage females.
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Remapping Ozu's Tokyo? The Interplay between History and Memory in Hou Hsiao-Hsien's Café Lumière
By I-fen WuThis essay will argue that the film's representation of urban Tokyo is shaped by the director's concern with history to discuss its connections with memory. This paper aims to explore how memory has gained in value as a site of historical interpretation, and how history and memory relate closely to a wider reconsideration of the shifting cultural landscape of modern society. This paper aims to explore how memory has gained in value as a site of historical interpretation, and how history and memory relate closely to a wider reconsideration of the shifting cultural landscape of modern society. Hou's representation of modern society also heightens the necessity to consider the linkage between past and present, opening up the possibility that is more than just to remember the past and consequently conceive the present.
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44th Antalya Golden Orange and 3rd Eurasia Film Festivals. Oct. 19-28, 2007
More LessWhat follows is a report of the 44th Antalya Golden Orange and 3rd Eurasia Film Festival, 2007.
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Volumes & issues
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Volume 34 (2023)
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Volume 33 (2022)
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Volume 32 (2021)
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Volume 31 (2020)
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Volume 30 (2019)
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Volume 29 (2018)
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Volume 28 (2017)
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Volume 27 (2016)
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Volume 26 (2015)
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Volume 25 (2014)
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Volume 24 (2013)
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Volume 23 (2012)
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Volume 22 (2011)
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Volume 21 (2010)
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Volume 20 (2009)
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Volume 19 (2008)
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Volume 18 (2007)
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Volume 17 (2006)
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Volume 16 (2005)
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Volume 15 (2004)
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Volume 14 (2003)
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Volume 13 (2002)
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Volume 12 (2001)
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Volume 11 (2000)
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Volume 10 (1998 - 1999)
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Volume 9 (1997 - 1998)
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Volume 8 (1996)
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Volume 7 (1995)
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Volume 6 (1993)