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Full Description
Cinema archives memories, conserves the past, and rewrites histories. As much as the Sinophone embodies differences, contemporary Sinophone cinemas in Taiwan, Hong Kong, and the People's Republic of China invest various images of contested politics in order to assert different histories and self-consciousness. As such, Sinophone cinemas and image production function as archives, with the capability of reinterpreting the multiple dimensions of past and present.
The Politics of Memory in Sinophone Cinemas and Image Culture investigates Sinophone films and art projects that express this desire for archiving and reconfiguring the past. Comprising ten chapters, this book brings together contributors from an array of disciplines - artists, filmmakers, curators, film critics, and literary scholars - to grapple with the creative ambiguities of Sinophone cinemas and image culture. Blending eclectic methods of scholarly research, knowledge-making, and art-making into a new discursive space, the chapters address the diverse complexities of the cinematic culture and image production in Sinitic language regions.
This book is a valuable resource for students and scholars of film studies, China studies, East Asian studies, Taiwan studies, and Sinophone studies, as well as professionals who work in the film industry.
Contents
Introduction
I. Remembering China: The Individual Self, the Collective, and the State Apparatus
Chapter 1. Why Remember Everyday Movie-Going in Cultural Revolution Shanghai?
Chapter 2. Persuasive Communication in Chinese Historical Film: The Founding of a Republic as a Milestone
Chapter 3. Images of Redress and Rehabilitation: "pingfan (in) film" and perceptions of coming to terms with the past in China
Chapter 4. A Familiar Stranger - Grierson in China
II. Politicizing Archives: Artists and Digital History
Chapter 5. The Use and Abuse of the Archives in Contemporary Art
Chapter 6. Making Reverberation: Residue of Sounds and Images
Chapter 7. The Digital Emergence of a New History: The Archiving of Colonial Japanese Documentaries on Taiwan
III. Manufactured Archives: the Fictional Memory
Chapter 8. Wong Kar-wai's Mood Trilogy: Robot, Tears, and the Affective Aura
Chapter 9. The Missing and the Fictional Memory: Leitmotifs of Tsai Ming Liang's Oeuvre
Chapter 10. Light and Shadow of Jianghu: Peering into the Contemporary Political Mythology in Crouching Tiger, Hidden Dragon, Hero and The Grandmaster
