Independent Filmmaking across Borders in Contemporary Asia (original) (raw)
内容简介 · · · · · ·
This book examines an array of auteur-driven fiction and documentary independent film projects that have emerged since the turn of the millennium from East and Southeast Asia, a strand of transnational filmmaking that converges with Asia's vibrant yet unevenly developed independent film movements amidst global neoliberalism. These projects bear witness to and are shaped by the ...
This book examines an array of auteur-driven fiction and documentary independent film projects that have emerged since the turn of the millennium from East and Southeast Asia, a strand of transnational filmmaking that converges with Asia's vibrant yet unevenly developed independent film movements amidst global neoliberalism. These projects bear witness to and are shaped by the ongoing, historical processes of inter-Asia interaction characterized by geopolitical realignment, migration, and population displacement. This study threads together case studies of internationally acclaimed filmmakers, artists, and collectives such as Zhang Lu, Kuzoku, Li Ying, Takamine G?, Yamashiro Chikako, and Midi Z, all of whose transborder journeys and cinematic imaginations disrupt static identity affiliations built upon national, ethnic, or cultural differences. This transborder filmmaking can be viewed as both an aesthetic practice and political act, reframing how people, places, and their inter-connections can be perceived-opening up possibilities to reimagine Asia and its connections to globalization.
作者简介 · · · · · ·
MA Ran is an associate professor at the "Japan-in-Asia" Cultural Studies Program, Graduate School of Humanities, Nagoya University, Japan. She has recently contributed chapters to Chinese Film Festivals: Sites of Translation (2017) and upcoming anthologies such as Taiwan Cinema: International Reception and Social Change.
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Methy 2019-11-23 12:16:40
6 有用
朗西埃、史書美、Elsaesser、minor cinema、trans theories...第一章这个 cross-border framework 的理论建构非常丰富。围绕作者进行的写作看得出是延长于马然的电影节研究,针对电影节 circle 的批判和反思非常精彩。和我家十号老师一起被致谢,很开心:)
终于读完。有两个地方很受教:1. 将亚洲的跨境电影视为朗西埃式的歧感的艺术, 因为这种电影无疑将民族的自身的历史矛盾和民族主体之间的矛盾内化,并且反映了一种游离于民族国家自身主体性之外的立场。2. Border-Crossing,这种思路无疑是强调了一种Border的存在和跨境的行为。而border的历史变迁最终形成了这批导演跨境创作背后的政治背景,也成就了他们的立场。但是我有一个地方可能有点不理... 终于读完。有两个地方很受教:1. 将亚洲的跨境电影视为朗西埃式的歧感的艺术, 因为这种电影无疑将民族的自身的历史矛盾和民族主体之间的矛盾内化,并且反映了一种游离于民族国家自身主体性之外的立场。2. Border-Crossing,这种思路无疑是强调了一种Border的存在和跨境的行为。而border的历史变迁最终形成了这批导演跨境创作背后的政治背景,也成就了他们的立场。但是我有一个地方可能有点不理解,为什么要将冲绳的电影也归于跨境电影,我对冲绳的历史确实不太了解。 (展开)
去年90欧?逼退我,也不好意思找RaRaRa讨书。论文写完后,书也因疫情开放下载。第一部分translocal理论框架建构,跨国作为跨地表现形式,从尺度规模考察,跨地引出边界,跨境(地)作为有效框架,将以各种模式流动的群体连结,既避免与国家同质化和对某民族(种族)单一想象,具有超越单一视野的能量。研究张律论文受马然translocal启发,将地点连成轨迹,以轨迹呈现文本内外的身份归属与历史因素,发... 去年90欧?逼退我,也不好意思找RaRaRa讨书。论文写完后,书也因疫情开放下载。第一部分translocal理论框架建构,跨国作为跨地表现形式,从尺度规模考察,跨地引出边界,跨境(地)作为有效框架,将以各种模式流动的群体连结,既避免与国家同质化和对某民族(种族)单一想象,具有超越单一视野的能量。研究张律论文受马然translocal启发,将地点连成轨迹,以轨迹呈现文本内外的身份归属与历史因素,发现乡愁变化以及电影制作向日本的扩张,身份永远在痛苦的生成,张律认知身份并回应历史。我看完张律的部分,发现忽略他朝鲜族身份与中国性探讨,少数民族不一定制作少数民族电影文本”,但有效对抗汉语中心主义。另,第一部分理论建构疯了,朗西埃Naficy史书美德勒兹Rodowick……只能说未来是无尽的😿继续! (展开)
时脆吱 2021-12-31 16:36:56
0 有用
从《南方来信》引入,紧接着用朗西埃的观念提溜出一串狂轰乱炸的概念:电影口音、跨境作者、次级电影、电影节重塑全球导演等等。因此第一部分尤显妙语连珠,应接不暇。 再对张律、kuzoku团体、李缨、冲绳、赵德胤、艾未未逐一做文本分析。或许是因为熟悉度不同,觉得Midi Zhao 部分是最流畅好读的,kuzoku和冲绳部分没怎么看明白。 (标想读了大半年,总算是没拖到明年)