The Palgrave Handbook of Asian Cinema

by Aaron Han Joon Magnan-Park (Editor), Gina Marchetti (Editor), See Kam Tan (Editor)

Overview

This collection offers new approaches to theorizing Asian film in relation to the history, culture, geopolitics and economics of the continent. Bringing together original essays written by established and emerging scholars, this anthology transcends the limitations of national borders to do justice to the diverse ways in which the cinema shapes Asia geographically and imaginatively in the world today. From the revival of the Silk Road as the “belt and road” of a rising China to historical ruminations on the legacy of colonialism across the continent, the authors argue that the category of “Asian cinema” from Turkey to the edges of the Pacific continues to play a vital role in cutting-edge film research. This handbook will serve as an essential guide for committed scholars, students, and all those interested in the past, present, and possible future of Asian cinema in the 21st century.

Product Details

ISBN-13:	9781349958214
Publisher:	Palgrave Macmillan UK
Publication date:	11/04/2018
Edition description:	1st ed. 2018
Pages:	743
Product dimensions:	6.10(w) x 9.25(h) x (d)

About the Author

Aaron Han Joon Magnan-Park is Assistant Professor in the Department of Comparative Literature at the University of Hong Kong. He has published in Asian Cinema, The Journal of Japanese and Korean Cinema, The Journal of Korean Studies, and Post Script.

Gina Marchetti is Professor in the Department of Comparative Literature at the University of Hong Kong. In 1995, her book, Romance and the "Yellow Peril”: Race, Sex and Discursive Strategies in Hollywood Fiction (University of California, 1993), won the award for best book in the area of cultural studies from the Association for Asian American Studies. Her recent book is Citing China: Politics, Postmodernism, and World Cinema (University Of Hawai'i Press, 2018).

Tan See Kam is Associate Professor of Film Studies at the Department of English, University of Macau. He is Chair of the Asian Cinema Studies Society and Chief Editor of Asian Cinema.

Table of Contents

1. Introduction: “Asia” and Asian Cinema, Aaron Han Joon Magnan-Park, Gina Marchetti, and Tan See-Kam.- Section I: Defining Asian Cinema in the 21st Century.- 2. The Desire for a Continental Poly-Asian Cinema Movement, Aaron Han Joon Magnan-Park.- 3. Cinema and Development: Towards an Ideological History of Asian Cinema as “World Cinema”, Derek Lam.- 4. Theorizing Other Asian Cinemas: The Sensorium of Transcaucasia, Anne Ciecko.- 5. East Asia’s Film Business, Ruby Cheung.- 6. Alibaba Goes to the Movies, Mark Gallagher.- 7. New Media/New Asia: Dominant and Residual Geographies of Emerging Media Arts, Stephanie DeBoer.- Section II: Locating the New Asian Cinema: Changing Aesthetics, Distribution Networks, and Global Connections.- 8. Locating Turkish Cinema: Traditional Eastern Aesthetics to Western Modernity, Murat Akser.- 9. The Asian Documentary Connections: From the Yamagata International Documentary Film Festival (YIDFF) to the Asian Network of Documentary (AND), Ma Ran.- 10. Small Asias Outside of Asia—Asian Film Festivals in Europe, Eija Niskanen.- 11. Distributing and Marketing Asian Cinema: Definitions from DVD Labels, Jonathan Wroot.- 12. Contemporary Japanese Viewership: Revisiting the Cinema, Jennifer Coates.- Section III: Asian History in the Making.- 13. Peace Before the Storm: Japanese Cinematographers and Their Asian Imagination in the 1920s-30s, Daisuke Miyao.- 14. Reframing Loss: Japanese Cinematic Melancholia in Inter-Asian Contexts , Earl Jackson, Jr..- 15. Mao and Gandhi in the Fight Against Corruption: Popular Film and Social Change in China and India, Krista Van Fleit Hang.- 16. Colonial Censorship and the Cultural Politics of Chinese-language Cinemas in the Cold War, Kenny K. K. Ng.- 17. The Long Roads to Global Hollywood: Shaw Brothers, Golden Harvest and Dalian Wanda, Tan See-Kam.- Section IV: Remaking Asia and the Asian Diaspora—New Tales of an (Un) Common Past.- 18. Martial Arts Fantasies in a Globalized Age: Kung Fu Hustle and Kung Fu Panda, Jing Yang.- 19.Taipei and Tokyo: Turf Wars Over Identity, Yun Xia.- 20. Aspirationally Yours: Pan-Asian Cinematic Convergence, Staci Ford.- 21. Transnational Asian Cinema through the Lens of Cinephiles and Transmedia Fans, Wikanda Promkhuntong.- 22. Two “Asian” Stories in New Zealand Cinema, Elena Kolesova.- Section V: Questioning Asian Bodies.- 23. The Asian Wave: Three Asian Male Superstars in Hollywood, Valerie Soe.- 24. War Movies and Fractured Notions of Masculinity, Minoo Moallem.- 25. Reconfiguring Confucianism and Filial Piety in Contemporary Korean Cinema: Mother-son Bonding inMother and The Peter Pan Formula, Jason Ka-hang Ho.- 26. Unbecomings in East Asian Women’s Cinema: Naomi Kawase, Yim Soon-rye, and Li Yu, Mila Zuo.- 27. Between Real and Unreal: Representability and Auteurship in Queer Hong Kong Cinema, Zoran Pecic.- 28. Exploring the Dolphy Bakla: Queerness in Philippine Cinema, Mikee Inton.- Section VI: Politics in Asian Film.- 29. Policies and Film Content in South Korea, Japan, and China: What Stories Do Their Films Tell?, Bruno Lovric.- 30. Recalibrating Modernity: East Asian Socially Engaged Documentary and the Evocation of Another World, Dan Edwards.- 31. For Some Dreams a Lifetime Is Not Enough: Popular Bombay Cinema and Its Anti-capitalist Time Consciousness, Jyotsna Kapur.- 32. Local Stories, Global Catastrophe: Reconstructing the Nation, Asian Cinema and Asian Eco-Consciousness in Japan’s 3.11 Films, Winnie L. M. Yee and Kiu-wai Chu.- 33. Clara Law, Asia and World Cinema, Gina Marchetti.

What People are Saying About This

From the Publisher

“This essential collection provides an illuminating and thought-provoking exploration of some of the key debates in the fast-growing field of Asian cinema. Guiding readers through the historical, political and conceptual possibilities opened by Asia’s dynamic screen industries, the editors have assembled a valuable resource that will set the tone for scholarly interventions to come.” (Olivia Khoo, Monash University, Australia)