Sam L M Mak | National Chung Hsing University (original) (raw)
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Papers by Sam L M Mak
文化研究 Router: A Journal of Cultural Studies, 2023
This paper use the concept of "performing Chineseness" to read closely Chiu Kang-Chien's screenwr... more This paper use the concept of "performing Chineseness" to read closely Chiu Kang-Chien's screenwriting of Taiwan and Hong Kong cinemas, and illustrates his active participation within the dynamics of the "cinematic Cold War," regional politics and Cold War ideological formations. In recent years, more and more autobiographical materials had been exposed that provided rich resources for imagining and portraying Chiu as a talented artist who carries multiple hats as a poet, a playwrite, and a film script writer. However, compared to this fruitful discussion of Chiu's aesthetic creativity, the close relations between his works, Chineseness, and Cold War politics are still unexplored. In fact, as a significant figure in Taiwan and Hong Kong film industries, Chiu is a good case to study especially for mapping the trans-local interaction mediated by Cold War politics. This paper first outline the concept of "Cold War-Civil War institution of cinema" that points to the strategic and contingent collaboration between the KMT party-state and the Hong Kong film tycoons. Then it llustrate how Chiu negotiated with various forces through performing Chineseness in his films throughout the Cold War era, to identify how these films involved in the transformational moments of this institution of cinema.
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文化研究季刊, 2022
本文討論王童首部執導的「反共電影」《假如我是真的》(1981)，如何在空間形 式體現現實主義的批判潛能。《假》是王童首部執導的作品，改編自中國同名的話劇劇 本，象徵性地突破了冷戰疆界，成為戰後第... more 本文討論王童首部執導的「反共電影」《假如我是真的》(1981)，如何在空間形 式體現現實主義的批判潛能。《假》是王童首部執導的作品，改編自中國同名的話劇劇 本，象徵性地突破了冷戰疆界，成為戰後第一部將中國文本合法地搬上銀幕的台灣電影。《假》的改編電影座落於地緣政治急速變動的歷史時刻，無可避免陷入多重張力:由民 營的永昇影業生產的「反共電影」似乎在黨國國族神話分崩離析的時刻繼續執行某種反 共政宣，但電影為了取得票房和觀眾認同，必須同時協商官方意識型態和商業利益。本 文沿着 Anna Kornbluh 對於現實主義和馬克思主義電影理論的思考，並借助媒介和文化 技術的思考，指出在改編過程中《假》憑藉電影作為空間藝術的媒介特質把原著劇本的 社會矛盾主題空間化，本文將場景、建築和社會空間的布置與安排視為電影呈現社會關 係的空間形式，由此探究電影所體現的現實主義潛能。
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文化研究季刊, 2017
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連結—台灣：第十五屆全國台灣文學研究生學術研討會論文集, 2018
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Inter-Asia Cultural Studies, 2021
This essay investigates how Arif Dirk’s works are interpreted in Taiwan through the lens of langu... more This essay investigates how Arif Dirk’s works are interpreted in Taiwan through the lens of language politics and argues that postcolonialism, the dominant epistemology, has been central in mediating the translation and interpretation of his works. It traces back the debates in the 1990s over postcolonialism and points out that postcolonial cultural hybridity has been used as the “unquestioned truth” to maintain the colonizer’s language and dismantle the nativist project of recovering lost languages and cultures. In this process, Dirlik’s works are appropriated to legitimize the colonizer’s status quo. This essay demonstrates how Dirlik’s engagement with “the colonial” in his later years helps to theorize contemporary forms of injustices committed by the nation state under global capitalism and offers a radical critique of our postcolonial present in Taiwan. By reading his critique of postcolonialism, we show how Dirlik’s works can be used to challenge the legitimacy of the ROC as a...
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文化研究@嶺南, 2015
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七○年代以降台灣文學對香港的影響力似乎日漸衰弱，鄉土 文學運動的影響更被認為是「水過無痕」， 這種見解可能與香港 文學與戲劇關係長期以來遭到忽視有關。成立於七○年代初的香 港業餘劇團致群劇社曾於... more 七○年代以降台灣文學對香港的影響力似乎日漸衰弱，鄉土 文學運動的影響更被認為是「水過無痕」， 這種見解可能與香港 文學與戲劇關係長期以來遭到忽視有關。成立於七○年代初的香 港業餘劇團致群劇社曾於1981年上演張秉權改編之《將軍族》話 劇，此前亦曾改編上演《鄉土形象:兒子的大玩偶、夜行貨車》 (1978)。從台灣到香港的跨文類改編本來是兩地文藝的流動風 景，大概因為原始資料散佚不全，一直未見討論。以中文大學畢業 生為骨幹的致群劇社之成立，正值香港學運的「認中關社」(認識 中國，關心社會)作為口號被提出之時，劇社的演出亦每每扣連學 運、社運的脈搏。本文將細讀張秉權提供之《將軍族》劇本手稿， 對照方方改編劇本和陳映真原著文本，討論香港劇場工作者在這樣 的歷史脈絡下如何理解、改編並呈現原著小說，嘗試為台灣文學傳 播至香港之進路提供另一參考點。
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Articles by Sam L M Mak
The News Lens 關鍵評論, Sep 20, 2016
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文化研究@嶺南, Nov 2015
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文化研究 Router: A Journal of Cultural Studies, 2023
This paper use the concept of "performing Chineseness" to read closely Chiu Kang-Chien's screenwr... more This paper use the concept of "performing Chineseness" to read closely Chiu Kang-Chien's screenwriting of Taiwan and Hong Kong cinemas, and illustrates his active participation within the dynamics of the "cinematic Cold War," regional politics and Cold War ideological formations. In recent years, more and more autobiographical materials had been exposed that provided rich resources for imagining and portraying Chiu as a talented artist who carries multiple hats as a poet, a playwrite, and a film script writer. However, compared to this fruitful discussion of Chiu's aesthetic creativity, the close relations between his works, Chineseness, and Cold War politics are still unexplored. In fact, as a significant figure in Taiwan and Hong Kong film industries, Chiu is a good case to study especially for mapping the trans-local interaction mediated by Cold War politics. This paper first outline the concept of "Cold War-Civil War institution of cinema" that points to the strategic and contingent collaboration between the KMT party-state and the Hong Kong film tycoons. Then it llustrate how Chiu negotiated with various forces through performing Chineseness in his films throughout the Cold War era, to identify how these films involved in the transformational moments of this institution of cinema.
Bookmarks Related papers MentionsView impact
文化研究季刊, 2022
本文討論王童首部執導的「反共電影」《假如我是真的》(1981)，如何在空間形 式體現現實主義的批判潛能。《假》是王童首部執導的作品，改編自中國同名的話劇劇 本，象徵性地突破了冷戰疆界，成為戰後第... more 本文討論王童首部執導的「反共電影」《假如我是真的》(1981)，如何在空間形 式體現現實主義的批判潛能。《假》是王童首部執導的作品，改編自中國同名的話劇劇 本，象徵性地突破了冷戰疆界，成為戰後第一部將中國文本合法地搬上銀幕的台灣電影。《假》的改編電影座落於地緣政治急速變動的歷史時刻，無可避免陷入多重張力:由民 營的永昇影業生產的「反共電影」似乎在黨國國族神話分崩離析的時刻繼續執行某種反 共政宣，但電影為了取得票房和觀眾認同，必須同時協商官方意識型態和商業利益。本 文沿着 Anna Kornbluh 對於現實主義和馬克思主義電影理論的思考，並借助媒介和文化 技術的思考，指出在改編過程中《假》憑藉電影作為空間藝術的媒介特質把原著劇本的 社會矛盾主題空間化，本文將場景、建築和社會空間的布置與安排視為電影呈現社會關 係的空間形式，由此探究電影所體現的現實主義潛能。
Bookmarks Related papers MentionsView impact
文化研究季刊, 2017
Bookmarks Related papers MentionsView impact
連結—台灣：第十五屆全國台灣文學研究生學術研討會論文集, 2018
Bookmarks Related papers MentionsView impact
Inter-Asia Cultural Studies, 2021
This essay investigates how Arif Dirk’s works are interpreted in Taiwan through the lens of langu... more This essay investigates how Arif Dirk’s works are interpreted in Taiwan through the lens of language politics and argues that postcolonialism, the dominant epistemology, has been central in mediating the translation and interpretation of his works. It traces back the debates in the 1990s over postcolonialism and points out that postcolonial cultural hybridity has been used as the “unquestioned truth” to maintain the colonizer’s language and dismantle the nativist project of recovering lost languages and cultures. In this process, Dirlik’s works are appropriated to legitimize the colonizer’s status quo. This essay demonstrates how Dirlik’s engagement with “the colonial” in his later years helps to theorize contemporary forms of injustices committed by the nation state under global capitalism and offers a radical critique of our postcolonial present in Taiwan. By reading his critique of postcolonialism, we show how Dirlik’s works can be used to challenge the legitimacy of the ROC as a...
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文化研究@嶺南, 2015
Bookmarks Related papers MentionsView impact
七○年代以降台灣文學對香港的影響力似乎日漸衰弱，鄉土 文學運動的影響更被認為是「水過無痕」， 這種見解可能與香港 文學與戲劇關係長期以來遭到忽視有關。成立於七○年代初的香 港業餘劇團致群劇社曾於... more 七○年代以降台灣文學對香港的影響力似乎日漸衰弱，鄉土 文學運動的影響更被認為是「水過無痕」， 這種見解可能與香港 文學與戲劇關係長期以來遭到忽視有關。成立於七○年代初的香 港業餘劇團致群劇社曾於1981年上演張秉權改編之《將軍族》話 劇，此前亦曾改編上演《鄉土形象:兒子的大玩偶、夜行貨車》 (1978)。從台灣到香港的跨文類改編本來是兩地文藝的流動風 景，大概因為原始資料散佚不全，一直未見討論。以中文大學畢業 生為骨幹的致群劇社之成立，正值香港學運的「認中關社」(認識 中國，關心社會)作為口號被提出之時，劇社的演出亦每每扣連學 運、社運的脈搏。本文將細讀張秉權提供之《將軍族》劇本手稿， 對照方方改編劇本和陳映真原著文本，討論香港劇場工作者在這樣 的歷史脈絡下如何理解、改編並呈現原著小說，嘗試為台灣文學傳 播至香港之進路提供另一參考點。
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The News Lens 關鍵評論, Sep 20, 2016
Bookmarks Related papers MentionsView impact
文化研究@嶺南, Nov 2015
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