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Citing China - Politics, Postmodernism, and World Cinema (Paperback)
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Citing China - Politics, Postmodernism, and World Cinema (Paperback)
Series: Critical Interventions
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Citing China explores the role film plays in creating a common
ground for the exchange of political and aesthetic ideas between
China and the rest of the world. It does so by examining the
depiction of China in contemporary film, looking at how global
filmmakers "cite" China on screen. Author Gina Marchetti's aim is
not to point to how China continues to function as a metaphor or
allusion that has little to do with the geopolitical actualities of
contemporary China. Rather, she highlights China's position within
global film culture, examining how cinematic quotations link
current films to past political movements and unresolved social
issues in a continuing multidirectional conversation.Marchetti
covers a wide range of cinematic encounters across the China-West
divide. She looks closely at specific movements in world film
history and at key films that have influenced the way "China" is
depicted in global cinema today, from popular entertainment to
international art cinema, the DV revolution, video activism, and
the emergence of "festival films." Marchetti first considers
contemporary Chinese-language cinema (Edward Yang, Hou
Hsiao-Hsien); she then turns to Italian Neorealism and its
importance to the Chinese Sixth Generation (Jia Zhangke) and the
French New Wave's ripple effect on filmmakers associated with the
Hong Kong New Wave and Taiwan New Cinema (Ann Hui, Evans Chan). As
the People's Republic of China has gained increased global economic
clout, filmmakers draw on Euro-American formulae (Bruce Lee, Clara
Law) to attract new viewers and define cinematic pleasures for new
audiences on the other side of the earth. The book concludes with a
consideration of the role film festivals, women filmmakers, and
emerging audiences play in the new world of global cinema. Citing
China offers a framework for examining cinematic influence as a
dynamic and multidirectional process. It is carefully researched,
theoretically sophisticated, and animated by detailed and
historically nuanced studies of individual films, making clear just
how much a part of global film culture today's China is. The book
makes important contributions to debates in transnational film
studies, postmodern versus modernist aesthetics and politics, and
Asian as well as European art cinema.
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