The present volume focuses on the uses of theory originating in
non-Chinese places in the creation, curating, and criticism of
contemporary Chinese visual culture. In the past two decades,
contemporary Chinese art and film have attracted a great deal of
media and academic attention in the West, and scholars have adopted
a variety of approaches in Chinese film and visual studies. The
present volume focuses on the uses and status of theory originating
in non-Chinese places in the creation, curating, narration, and
criticism of contemporary Chinese visual culture (broadly defined
to include traditional media in the visual arts as well as cinema,
installation, video, etc.). Contributors reflect on the written
and, even more interestingly, the unwritten assumptions on the part
of artists, critics, historians, and curators in applying or
resisting Western theories. The essays in the present volume
demonstrate clearly that Western theory can be useful in
explicating Chinese text, as long as it is applied judiciously; the
essays, taken as a whole, also suggest that cultural exchange is
never a matter of one-way street. Historically, ideas from
traditional Chinese aesthetics have also traveled to the West, and
it is a challenge to examine what travels and what does not, as
well as what makes such travel possible or impossible. The present
volume thus provides us an opportunity to rethink travels of
theories and texts across cultures, languages, disciplines, and
media. "The authors in this volume demonstrate how theory can be
deployed judiciously, and so illuminate the methodological
challenges faced by scholars in a rapidly evolving field.
Intellectually rigorous and yet accessible, the book is a
much-needed and valuable contribution to art historical
scholarship." Dr. Wenny Teo, Manuela and Iwan Wirth Lecturer in
Modern and Contemporary Asian Art, The Courtauld Institute of Art,
London. "This collection of essays offers multifaceted approaches
and perspectives that demonstrate forcefully how Western theories
have appropriated Chinese visual texts into the discourse of
English scholarship. This is a must-read book for anyone intending
to read or write about contemporary Chinese art and cinema.
Shu-chin Tsui, Bowdoin College, author of Women Through the Lens:
Gender and Nation in a Century of Chinese Cinema . "The theories,
ranging from Bakhtin's reading to Chinese Daoist/Chan Buddhist
notions, and engaging with postmodern perspectives and
globalization, are boldly used to prompt readers to reinterpret
contemporary Chinese art and film." Haili Kong, Swarthmore College,
coeditor of One Hundred Years of Chinese Cinema.
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