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This book offers an interdisciplinary, historically grounded study
of Asian cinemas' complex responses to the Cold War conflict. It
situates the global ideological rivalry within regional and local
political, social, and cultural processes, while offering a
transnational and cross-regional focus. This volume makes a major
contribution to constructing a cultural and popular cinema history
of the global Cold War. Its geographical focus is set on East Asia,
Southeast Asia, and South Asia. In adopting such an inclusive
approach, it draws attention to the different manifestations and
meanings of the connections between the Cold War and cinema across
Asian borders. Many essays in the volume have a transnational and
cross-regional focus, one that sheds light on Cold War-influenced
networks (such as the circulation of socialist films across
communist countries) and on the efforts of American agencies (such
as the United States Information Service and the Asia Foundation)
to establish a transregional infrastructure of "free cinema" to
contain the communist influences in Asia. With its
interdisciplinary orientation and broad geographical focus, the
book will appeal to scholars and students from a wide variety of
fields, including film studies, history (especially the burgeoning
field of cultural Cold War studies), Asian studies, and US-Asian
cultural relations.
This book offers an interdisciplinary, historically grounded study
of Asian cinemas' complex responses to the Cold War conflict. It
situates the global ideological rivalry within regional and local
political, social, and cultural processes, while offering a
transnational and cross-regional focus. This volume makes a major
contribution to constructing a cultural and popular cinema history
of the global Cold War. Its geographical focus is set on East Asia,
Southeast Asia, and South Asia. In adopting such an inclusive
approach, it draws attention to the different manifestations and
meanings of the connections between the Cold War and cinema across
Asian borders. Many essays in the volume have a transnational and
cross-regional focus, one that sheds light on Cold War-influenced
networks (such as the circulation of socialist films across
communist countries) and on the efforts of American agencies (such
as the United States Information Service and the Asia Foundation)
to establish a transregional infrastructure of "free cinema" to
contain the communist influences in Asia. With its
interdisciplinary orientation and broad geographical focus, the
book will appeal to scholars and students from a wide variety of
fields, including film studies, history (especially the burgeoning
field of cultural Cold War studies), Asian studies, and US-Asian
cultural relations.
The Cinema of Hong Kong examines one of the most popular and dynamic cinema traditions in the history of film. Providing an overview of major directors, genres and stars, from its origins to the present, this volume examines Hong Kong cinema in transnational, historical, and artistic contexts. Individual essays focus on Hong Kong cinema before and during World War II; the cinema of the turbulent 1960s; its rise to world prominence in the 1970s and its reception in the United States, and the revival of Cantonese cinema, among other topics.
Based on meticulous archival research and a repetorary of rare
films, most of which were believed lost, this book is a pioneering
critical study of the Chinese cinemas in Hong Kong and Shanghai and
their complex interconnections. The years 1935-50 were a period of
ceaseless violence in China, of war, occupation, civil war, and
colonialism, leading to mass displacements of millions of people
and extreme poverty. Both the cinema and the broader popular
culture of this period have been little studied, partly because
access to research materials is so difficult, partly because of the
political problems involved (most films produced during the war
have been considered pro-Japanese and their makers traitors). This
study brings to light the humanity of the filmmakers, writers, and
business people; the many facets of the historical situation in
which they worked; and the complex politics of the films they made.
This is also an original and important study of the regional
networks, diasporic connections, and border-crossing movement of
goods, capital, and people that drew Hong Kong and Shanghai
together in an intercity nexus that sustained the survival and even
flourishing of popular cinema during this tumultuous period.
Focusing on the responses of writers in Shanghai to the Japanese
occupation, this book corrects the postwar conception of occupied
China as a field of conflict between selfless resisters and
shameless collaborators by showing a complexity and ambiguity of
moral choices that defies such stereotyping.
The Cinema of Hong Kong examines one of the most popular and dynamic cinema traditions in the history of film. Providing an overview of major directors, genres and stars, from its origins to the present, this volume examines Hong Kong cinema in transnational, historical, and artistic contexts. Individual essays focus on Hong Kong cinema before and during World War II; the cinema of the turbulent 1960s; its rise to world prominence in the 1970s and its reception in the United States, and the revival of Cantonese cinema, among other topics.
Based on meticulous archival research and a repetorary of rare
films, most of which were believed lost, this book is a pioneering
critical study of the Chinese cinemas in Hong Kong and Shanghai and
their complex interconnections. The years 1935-50 were a period of
ceaseless violence in China, of war, occupation, civil war, and
colonialism, leading to mass displacements of millions of people
and extreme poverty. Both the cinema and the broader popular
culture of this period have been little studied, partly because
access to research materials is so difficult, partly because of the
political problems involved (most films produced during the war
have been considered pro-Japanese and their makers traitors). This
study brings to light the humanity of the filmmakers, writers, and
business people; the many facets of the historical situation in
which they worked; and the complex politics of the films they made.
This is also an original and important study of the regional
networks, diasporic connections, and border-crossing movement of
goods, capital, and people that drew Hong Kong and Shanghai
together in an intercity nexus that sustained the survival and even
flourishing of popular cinema during this tumultuous period.
Focusing on the responses of writers in Shanghai to the Japanese
occupation, this book corrects the postwar conception of occupied
China as a field of conflict between selfless resisters and
shameless collaborators by showing a complexity and ambiguity of
moral choices that defies such stereotyping.
Started in Shanghai in the 1920s, the legendary Shaw Brothers
Studio began to dominate the worldwide Chinese film market after
moving its production facilities to Hong Kong in 1957. Drawing
together scholars from such diverse disciplines as history,
cultural geography, and film studies, "China Forever" addresses how
the Shaw Brothers raised the production standards of Hong Kong
cinema, created a pan-Chinese cinema culture and distribution
network, helped globalize Chinese-language cinema, and appealed to
the cultural nationalism of the Chinese who found themselves
displaced and unsettled in many parts of the world during the
twentieth century. Contributors are Timothy P. Barnard, Cheng
Pei-pei, Ramona Curry, Poshek Fu, Lane J. Harris, Law Kar, Sundiata
Keita Cha-Jua, Lilly Kong, Siu Leung Li, Paul G. Pickowicz, Fanon
Che Wilkins, Wong Ain-ling, and Sai-shing Yung.
The founding of the university in 1867 created a unique community
in what had been a prairie. Within a few years, this creative mix
of teachers and scholars produced innovations in agriculture,
engineering and the arts that challenged old ideas and stimulated
dynamic new industries. Projects ranging from the Mosaic web
browser to the discovery of Archaea and pioneering triumphs in
women's education and wheelchair accessibility have helped shape
the university's mission into a double helix of innovation and
real-world change. These essays explore the university's celebrated
accomplishments and historic legacy, candidly assessing both its
successes and its setbacks. Experts and students tell the
eye-opening stories of campus legends and overlooked game-changers,
of astonishing technical and social invention, of incubators of
progress as diverse as the Beckman Institute and Ebertfest.
Contributors: James R. Barrett, George O. Batzli, Claire Benjamin,
Jeffrey D. Brawn, Jimena Canales, Stephanie A. Dick, Poshek Fu,
Marcelo H. Garcia, Lillian Hoddeson, Harry Liebersohn, Claudia
Lutz, Kathleen Mapes, Vicki McKinney, Elisa Miller, Robert Michael
Morrissey, Bryan E. Norwood, Elizabeth H. Pleck, Leslie J. Reagan,
Susan M. Rigdon, David Rosenboom, Katherine Skwarczek, Winton U.
Solberg, Carol Spindel, William F. Tracy, and Joy Ann
Williamson-Lott.
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