Asian Cinemas: A Reader and GuideDimitris Eleftheriotis, Gary Needham The West’s current fascination with Asian cinema must be viewed in the context of a complex and often problematic relationship between Western scholars, students, viewers, and Asian films. This book examines a number of detailed case studies (such as the films of Ozu, Bruce Lee, Hong Kong and Turkish cinema, Hindi melodramas, Godzilla films, Taiwanese directors, and Fifth Generation Chinese cinema) and uses them to investigate the limitations of Anglo–U.S. theoretical models and critical paradigms. By engaging readers with familiar areas of critical discourse (such as postcolonial criticism, "national cinema," "genre," "authorship," and "stardom") the book aims to introduce within such contexts the "unfamiliar" case studies that will be explored in depth and detail. |
Contents
Orientalism and Japanese Cinema | 7 |
A filmmaker for all seasons | 17 |
when Them is U S | 41 |
Godzilla and Japanese scifihorrorfantasy | 56 |
negotiating nationalism and modernity | 100 |
CrossCultural Criticism and Chinese Cinema | 147 |
toward a theory of ethnic | 168 |
Western analysis and a nonWestern text | 200 |
pleasures and popularity | 280 |
Hum Aapke Hain Koun? cinephilia and Indian films | 317 |
Questions of Authorship and Taiwanese Cinema | 358 |
Ozu and the colonial encounter in Hou HsiaoHsien | 369 |
The transnational cinema of Ang Lee | 393 |
The Case of Bruce | 404 |
narcissus and the little dragon | 414 |
Enter the Dragon | 426 |
The Case of Turkey | 219 |
remakes in Turkish cinema | 242 |
Genre Criticism and Popular Indian Cinema | 271 |
Bibliography | 457 |
465 | |
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actor aesthetic Ah-Long American Asian cinemas audience become body Bruce Lee camera Cantonese Chan character Chen China Chinese cinema cinephilia classical colonial contemporary context cross-cultural cultural directors discourse dominant Enter the Dragon essay female fight figure film criticism film industry film studies film theory film's filmmakers genre global Godzilla hero Hong Kong cinema Hong Kong films Hou Hsiao-Hsien Huang ideology Indian cinema Indian films Japan Japanese cinema Japanese film Kong's kung fu films Kwan Lee's London male martial arts films masculine melodrama modern monster musical narrative national cinema Ozu's political popular cinema position post-colonial production Pu Yi reading relationship remakes representation represented scene screen sexual shot social space specific spectator star story style suggests Taiwan Taiwanese Taiwanese cinema Tokyo Tokyo Story traditional Tsui Hark Turkish cinema University Press viewer visual West Western woman women Wong Fei Hung Yeşilçam