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Early Film Culture in Hong Kong, Taiwan, and Republican China
A pathbreaking collection of essays on early Chinese-language cinema
Taiwan Film Directors
This is a study of Taiwanese film and its some of most celebrated directors, focusing on the rich body of work from four contemporary filmmakers - Ang Lee, Edward Yang, Hou Hsiao-hsien and Tsai Ming-liang.
East Asian Screen Industries
East Asian Screen Industries is a guide to the film industries of Japan, South Korea, Taiwan, Hong Kong and the PRC. The authors examine how local production has responded to global trends and explore the effects of widespread de-regulation and China's accession to the World Trade Organisation.
Taiwan Film Directors
Focusing on the work of four contemporary filmmakers—Ang Lee, Edward Yang, Hou Hsiao-hsien, and Tsai Ming-liang—the authors explore how these filmmakers broke from tradition, creating a cinema that is both personal and insistent on examining Taiwan's complex history. Featuring stills, anecdotes, and close readings of films, the authors consider the influence of Hong Kong and martial arts films, directors' experiments with autobiography, the shifting fortunes of the Taiwanese film industry, and Taiwan cinema in the context of international cinema's aesthetics and business practices.
Chinese-language Film
A comprehensive work on Chinese film, this text explores the manifold dimensions of the subject and highlights areas overlooked in previous studies. Leading scholars take up issues and topics covering the entire range of Chinese cinema.
Thirty-two New Takes on Taiwan Cinema
A film-by-film introduction to Taiwan cinema and cultures
Staging Memories
"In Staging Memories, authors Abâe Mark Nornes and Emilie Yeh present an updated study of Hou Hsiao-hsien's landmark contributions to Taiwanese and world cinema, with particular emphasis on A City of Sadness (Beiqing Chengshi), the winner of the Golden Lion award at the 1989 Venice Film Festival. Staging Memories is based on Narrating National Sadness, one of the first hypertext analyses in film studies, and its analysis is couched in a general history of Taiwan, the political massacre that A City of Sadness recreates, and the history of Taiwan New Cinema. This background information is crucial context for viewers, and one of the reasons teachers have long valued the hypertext version of the book. The body of the text analyzes Hou's style, representation of violence, and the complex manner in which he renders history in his oblique long-take style. The book ends with a chapter that examines a single sequence that unifies the various threads of the overall analysis." -- Publisher's description
Cinema at the City's Edge
East Asia is a pivotal region in the advancement of media technologies, globalized consumerism and branding economies. City and urban spaces are now attracting cinematic imaginaries and the academic examination of visual images and urban space in East Asian contexts. Highlighting changing conceptions and blurring boundaries of "where city ends and cinema begins," this collection offers an original contribution to film/media and cultural studies, urban studies, and sociology.-Koichi Iwabucchi, Waseda University The originality of this book on the fragmented cities of Asia lies in the manner in which it pins down the relationship between visual images and urban space. The arguments are eloquent and persuasive, with close readings of critical media texts. Many of the dynamic issues tackled in the book are "on the edge" of film and cultural studies in Asia and should attract a wide readership.-Zhou Xuelin, University of Auckland
Horror to the Extreme
This book compares production and consumption of Asian horror cinemas in different national contexts and their multidirectional dialogues with Hollywood and neighboring Asian cultures. Individual essays highlight common themes including technology, digital media, adolescent audience sensibilities, transnational co-productions, pan-Asian marketing techniques, and variations on good vs. evil evident in many Asian horror films. Contributors include Kevin Heffernan, Adam Knee, Chi-Yun Shin, Chika Kinoshita, Robert Cagle, Emilie Yeh Yueh-yu, Neda Ng Hei-tung, Hyun-suk Seo, Kyung Hyun Kim, and Robert Hyland.
Feeling Asian Modernities
The recent transnational reach of Japanese television dramas in East and Southeast Asia is unprecedented, and not simply in terms of the range and scale of diffusion, but also of the intense sympathy many young Asians feel toward the characters in Japanese dramas, so that they cope with their own modern lives by emulating the lives on screen. Through the empirical analysis of how Japanese youth dramas are (re)produced, circulated, regulated, and consumed in East and Southeast Asia, each chapter in this volume variously explores the ways in which intra-Asian cultural flows highlight cultural resonance and asymmetry in the region under the decentering processes of globalization. Key questions include: What is the nature of Japanese cultural power and influence in the region and how is it historically overdetermined? How is it similar to and different from "Americanization" and other Asian cultural sub-centers? What kinds of images and sense of intimacy and distance are perceived through the reception of Japanese youth dramas?
