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Hitchcock with a Chinese Face - Cinematic Doubles, Oedipal Triangles, and China's Moral Voice (Paperback, New)
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Hitchcock with a Chinese Face - Cinematic Doubles, Oedipal Triangles, and China's Moral Voice (Paperback, New)
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This in-depth study of three remarkable recent Chinese-language
films-Suzhou River, The Day the Sun Turned Cold, and Good Men, Good
Women--deals with the tensions of globalization and the
preservation of local identity. In his compelling analyses of the
films, Silbergeld discusses the impact of foreign ethical values
entering the Chinese moral sphere today. As China and the West grow
closer together year by year, Chinese cinema becomes increasingly
Westernized and Western interest in Chinese cinema continues to
grow. from Shanghai, one from Hong Kong, one from Taipei--concerned
with the issues of developing globalization and the defence of
local identity and culture. Superficially different, these films
surprise Western audiences with their sophisticated cinematic
skills and the depth of their engagement with Dostoevsky and Freud,
Faulkner and Hitchcock. They employ double-characters, multiple
identities, and radically nonlinear narrative structures and pay
homage to film noir, individualizing psychodynamics never before
seen in Chinese cinema, and increasing tension between traditional
Chinese and modern Western moral values. The Day the Sun Turned
Cold (Hong Kong, 1994), and Good Men, Good Women (Taiwan, 1995) in
greater depth than seen in any previous study of Chinese cinema. An
art historian, he explores the visuality of these films in unusual
detail, taking account of the film makers' reliance on the
metaphoric image in skirting Chinese film censorship. Surprising
connections are drawn as Silbergeld's arguments unfold, and his
ideas spiral outward in cyclical patterns that are themselves
almost cinematic in scope. Witty and insightful, Silbergeld's text
relates seemingly disparate elements of three films to create a new
perspective on the latest and finest Chinese-language films, on the
complexities of life in China's rapidly modernizing culture, and on
the universal themes of politics and betrayal, honour and pity.
fullcolour version of each illustration in the book. Additionally,
the book is illustrated entirely with actual frames from films
rather than with the publicity stills used in most publications
about Chinese cinema.
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