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This edited collection explores new developments in the burgeoning
field of Chinese ecocinema, examining a variety of works from local
productions to global market films, spanning the Maoist era to the
present. The ten chapters examine films with ecological
significance in mainland China, Hong Kong, and Taiwan, including
documentaries, feature films, blockbusters and independent
productions. Covering not only well-known works, such as Under the
Dome, Wolf Totem, Tie Xi Qu: West of the Tracts, and Mermaid, this
book also provides analysis of less well-known but critically
important works, such as Anchorage Prohibited, Luzon, and Three
Flower/Tri-Color. The unique perspectives this book provides, along
with the comprehensive engagement with existing Chinese and English
scholarship, not only extend the scope of the growing field of
ecocinematic studies, but also seeks to reform the means through
which Chinese-language eco-films are understood in the years to
come. Ecology and Chinese-Language Ecocinema will be of huge
interest to students and scholars in the fields of Chinese cinema,
environmental studies, media and communication studies.
This edited collection explores new developments in the burgeoning
field of Chinese ecocinema, examining a variety of works from local
productions to global market films, spanning the Maoist era to the
present. The ten chapters examine films with ecological
significance in mainland China, Hong Kong, and Taiwan, including
documentaries, feature films, blockbusters and independent
productions. Covering not only well-known works, such as Under the
Dome, Wolf Totem, Tie Xi Qu: West of the Tracts, and Mermaid, this
book also provides analysis of less well-known but critically
important works, such as Anchorage Prohibited, Luzon, and Three
Flower/Tri-Color. The unique perspectives this book provides, along
with the comprehensive engagement with existing Chinese and English
scholarship, not only extend the scope of the growing field of
ecocinematic studies, but also seeks to reform the means through
which Chinese-language eco-films are understood in the years to
come. Ecology and Chinese-Language Ecocinema will be of huge
interest to students and scholars in the fields of Chinese cinema,
environmental studies, media and communication studies.
This ambitious work offers a comprehensive mapping of the cultural
landscape of China in the late twentieth century. By focusing on
Chinese cultural formations and critical discourses of the last
decade of the century, the book dissects the intellectual,
economic, and political contradictions of a turbulent
era--post-cold war, postsocialist, and postmodern--in China's
history.
The author defines the emergent logic of Chinese postmodernity
within a dominant system of global capitalism and points to the
central role of the transnational flow of visual culture in the
establishment of local and national identity. The Chinese case
demonstrates that the old conceptual scheme of Euro-American
postmodernism versus Third World national culture is no longer
feasible.
This wide-ranging, deeply interdisciplinary work demarcates the
cultural terrain by examining diverse media: film, television,
avant-garde art, and literature, as well as critical theory and
intellectual history. Part I reviews the raging critical debates
about the public sphere, the academy, intellectual identity,
cultural politics, and economic globalization, in the process
examining the Chinese appropriation of discourses of modernity,
postmodernity, and postcoloniality.
Part II investigates the impact of globalization and diaspora on
the formation of citizenship and nationality as articulated in
mainland Chinese and Hong Kong films. Part III probes issues of
post-orientalism, postmodernism, and strategies of representation
in contemporary Chinese art. Part IV studies pop music, soap opera,
and literary bestsellers, pinpointing the dialectic and mediating
function of popular culture amid the forces of official socialist
ideology, capitalist commodification, mass entertainment, and
transnational images in contemporary China. Overall, the book is an
insightful analysis of the ironies of the cultural logic of Chinese
socialism in a period that has seen accelerated economic
integration into the capitalist world system, but without major
political change.
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.
During his lifetime Austrian novelist Stefan Zweig (1881-1942) was
among the most widely read German-language writers in the world.
Always controversial, he fell into critical disfavor as writers and
critics in a devastated postwar Europe attacked the poor literary
quality of his works and excoriated his apolitical fiction as naive
Habsburg nostalgia. Yet in other parts of the world, Zweig's works
have enjoyed continued admiration and popularity, even canonical
status. China's Stefan Zweig unveils the extraordinary success of
Zweig's novellas in China, where he has been read in an entirely
different way. During the New Culture Movement of the 1920s,
Zweig's novellas were discovered by intellectuals turning against
Confucian tradition. In the 1930s, left-wing scholars criticized
Zweig as a decadent bourgeois writer, yet after the communist
victory in 1949 he was re-introduced as a political writer whose
detailed psychological descriptions exposed a brutal and
hypocritical bourgeois capitalist society. In the 1980s, after the
Cultural Revolution, Zweig's works triggered a large-scale "Stefan
Zweig fever," where Zweig-style female figures, the gentle, loving,
and self-sacrificing women who populate his novels, became the
feminine ideal. Zweig's seemingly anachronistic poetics of
femininity allowed feminists to criticize Maoist gender politics by
praising Zweig as "the anatomist of the female heart." As Arnhilt
Hoefle makes clear, Zweig's works have never been passively
received. Intermediaries have actively selected, interpreted, and
translated his works for very different purposes.China's Stefan
Zweig not only re-conceptualizes our understanding of
cross-cultural reception and its underlying dynamics, but proposes
a serious re-evaluation of one of the most successful yet
misunderstood European writers of the twentieth century. Zweig's
works, which have inspired recent film adaptations such as Xu
Jinglei's Letter from an Unknown Woman (2005) and Wes Anderson's
Grand Budapest Hotel (2014), are only beginning to be rediscovered
in Europe and North America, but the heated debate about his
literary merit continues. This book, with its wealth of hitherto
unexplored Chinese-language sources, sheds light on the Stefan
Zweig conundrum through the lens of his Chinese reception to reveal
surprising, and long overlooked, literary dimensions of his works.
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