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- Volume 8, Issue 2, 1996
Asian Cinema - Volume 8, Issue 2, 1996
Volume 8, Issue 2, 1996
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ACSS ’97 Conference
More LessAbstractTo mark the historic significance of ‘Hong Kong ‘97’, and at the invitation of the Cultural Studies Program at Trent University, we will hold the Fifth Biennial Conference of the Asian Cinema Studies Society from 20–24 August 1997, at Trent University in Peterborough, Ontario.
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Tales from peripheries: Why write about Japanese movies?
More LessAbstractIn this article, I reminisce about the making of The Japanese Film: Art and Industry, which I co-authored with Donald Richie. It has been a long time since the book was first published in 1959, so some names are omitted in this long story because memory fails me. I leave out a few others as a matter of discretion even though this practice does not conform to the vogue of those times.
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Problems with the treatment of Hong Kong cinema as camp
More LessAbstractMy favourite home video entertainment at the moment is Once Upon A Time In China 2, Tsui Hark’s 1992 Hong Kong martial arts picture. As a fan of this kind of film, I find it impossible to watch for ten minutes without compulsively reaching for the rewind button, the better to catch again those inventive moments of smile-inducing excess. I like the hyper-manly swagger and bounce of the catchy theme song, or the scene where the hero, Wong Fei Hung/Jet Lee, fights his adversaries armed with nothing but a rolled-up umbrella. And I am not alone in my appreciation. As any reasonably aware movie fan knows, popular Hong Kong films like this attract cult audiences in the West.
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Anti-Maoist gender: Hibiscus 53 Town’s naturalization of a Dengist sex/gender/kinship system
More LessAbstractThough anthropologists since Collier and Yanagisako have combined the analysis of kinship and gender, and queer theorists (especially) have produced astute analyses of sex/gender systems, rarely do sex, gender and kinship figure together in a single article. It seems the (American? White? Middle class?) segregation of childless adults from families with children must be mirrored in the separate analyses of sex and kinship. The analysis of life narratives in the public sphere offers easy opportunities to bridge this divide. By following characters as they age, such narratives merge presentations of sexualized gender roles with kin-based ones.
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A study of Asian tradition in Satyajit Ray’s The World of Apu
By Victor OrAbstractPoverty, exploitation and suffering are the major themes of many Indian films. By reflecting the immediate reality of the country, contemporary Indian filmmakers, notably Mira Nair, make manifest the needs of the poor and encourage their audiences to thin of possible solutions. While in this regard the filmmakers’ efforts may be to little avail, their films are striking portrayals of the tenacity of the human spirit for survival. The World of Apu is mild in its criticism of the social system that has created the dilemma – the issues of poverty and physical suffering are more a background. Instead, the film is a study of Asian ethics and spiritual fulfillment.
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Cinematic sexualities: The two faces of Abe Sada in Japanese ‘poruno’ film
More LessAbstractAbe Sada shocked and even delighted Japan when she was apprehended on 21 May 1936 for the murder and post-mortem severing of her lover’s genitalia. The incident, widely reported for months after the event, engaged people usually not preoccupied with sexual issues, in discussions of sexual desire. Exactly 40 years later, the Abe Sada incident reignited fervor in the media due to the scandal surrounding the Ōshima Nagisa film, Ai no Koriida (Empire of the Senses)(1976), which made newspaper headlines around the world. While some people loved the film, others attacked it on the basis that it contained nothing but sex scenes from beginning to end. It disturbed a lull in international attention to Japanese film.
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Teach for a while, direct for a while: An interview with Xie Fei
By John A. LentAbstractXie Fei’s filmography does not take up much space; he has directed a total of eight feature films. However, that is not to imply that the 54-year-old director has been idling this time. A Fourth-Generation filmmaker, that meant that upon graduating from the Beijing Film Academy, where he then taught for two years, Xie Fei was yanked from his professional life by the peculiar goings-on of the Cultural Revolution.
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Symbolism through Zhang Yimou’s subversive lens in his early films
By Haili KongAbstractThe emergence of the Fifth-Generation filmmakers in 1984 is one of the most important milestones in the history of Chinese cinema. It is the Fifth-Generation filmmakers who have made the cinematographical language and landscape culturally rich, semeiotically multi-layered and aesthetically charming. Zhang Yimou, whose talents include film directing, cinematography and acting, is the most creative and outstanding of the Fifth-Generation filmmakers. In fewer than ten years, he has made more than six internationally acclaimed films, and has demonstrated his great command over cinematographic styles.
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The makings of a passion: 40 years of living with the world of Chinese films
More LessAbstractI feel I have lived and breathed the Chinese film industry for almost half of the period that films have been made in China, ever since 1955, when I first came across the film Liang Shang Bo and Zhu Ying Dai by Sang Hu and Huang Sha, and my subsequent meeting in 1956 with one of its most famous pioneers, my friend, Cai Chusheng.
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Recent publications on Asian cinema
By John A. LentAbstractThis series has appeared sporadically almost from the beginning of Asian Cinema. This last installment was in 8:1, Spring 1996; these entries are mainly 1996. Criteria for selection were very broad, as the compiler works on the principle that anecdotal, journalistic and ephemeral items also provide important data. Dozens of periodicals were thoroughly searched, as well as databases in education, business, sociology and psychology. Periodicals in film studies, animation, cultural studies, Asian studies, women’s studies, journalism, mass communication, broadcasting, popular culture, etc. were surveyed.
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Symposium of Film Collections in Asia official report
By Yuheng BaoAbstractInvited by UNESCO, Ministry of Radio, Film and Television of the People’s Republic of China and the China Film Archive, Dr John A. Lent, Dr Yuheng Bao, Dr Nick Browne, Dr George Semsel and Dr Esther Yau attended an international symposium on film collection in Asia, 6 October–12 October 1996 in Beijing.
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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)