13 Colliding Fact and Fiction: Techno-Orientalism and Violence of the Ethical Other in Chen Shi-Zheng's Dark Matter. SECTION I Style, Narrative, Form -- 1 For Better or Worse, Don't Change Your Husband! Remakes and Appropriations of American Films in Republican China, 1911-1949 -- 2 A Tale of Two Cinemas: Embracing and Rejecting Hollywood's Influence in 1930s Shanghai -- 3 Sounding Glocal: Synthesizer Scores in Hong Kong Action Cinema -- 4 Ang Lee's Life of Pi: A Cosmopolitical Perspective -- SECTION II Genre -- 5 (Un)Folding Hollywood and New Chinese Subjectivity through the PRC's Minority Nationality Films in the 1950s and 1960s -- 6 Martial Arts Cinema and Minor Transnationalism -- 7 The Chinese War Film: Reframing National History in Transnational Cinema -- SECTION III Marketing, Exhibition, Reception -- 8 Cinema, Propaganda, and Networks of Experience: Exhibiting Chongqing Cinema in New York -- 9 Defenders of the Palace: Chinese-Language Movie Theaters and the Fight over Semi-private Spaces -- 10 Reading Hollywood in Postwar Shanghai: From The Metro News to Western Movie Pictorial -- 11 Watching Anna May Wong in Republican China -- SECTION IV Performance, Identity, Representation -- 12 Performing Nationality: The Fifth Generation as an "American" Transnational Cinema -- 13 Colliding Fact and Fiction: Techno-Orientalism and Violence of the Ethical Other in Chen Shi-Zheng's Dark Matter.
Summary:
"Critics frequently describe the influence of "America," through Hollywood and other cultural industries, as a form of cultural imperialism. This unidirectional model of interaction does not address, however, the counter-flows of Chinese-language films into the American film market or the influence of Chinese filmmakers, film stars, and aesthetics in Hollywood. The aim of this collection is to (re)consider the complex dynamics of transnational cultural flows between American and Chinese-language film industries. The goal is to bring a more historical perspective to the subject, focusing as much on the Hollywood influence on early Shanghai or postwar Hong Kong films as on the intensifying flows between American and Chinese-language cinemas in recent decades. Contributors emphasize the processes of appropriation and reception involved in transnational cultural practices, examining film production, distribution, and reception. "-- Provided by publisher.
This resource is supported by the Institute of Museum and Library Services under the provisions of the Library Services and Technology Act as administered by State Library of Iowa.