東アジアのフィルム・ノワール East Asian Film Noir : Transnational Encounters and Intercultural Dialogue (World Cinema)

東アジアのフィルム・ノワール<br>East Asian Film Noir : Transnational Encounters and Intercultural Dialogue (World Cinema)

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東アジアのフィルム・ノワール
East Asian Film Noir : Transnational Encounters and Intercultural Dialogue (World Cinema)

Shin, Chi-Yun (EDT)/ Gallagher, Mark (EDT)

ウェブストア価格 ¥35,481（本体¥32,256）
I.B. Tauris（2015/03発売）
外貨定価 US$ 175.00
ポイント 322pt

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製本 Hardcover:ハードカバー版／ページ数 256 p.
言語 ENG
商品コード 9781780760087
DDC分類 791.436556

Full Description

Film noir has been understood as a genre exclusive to Hollywood. But classical US noir's downbeat sensibility also finds expression in later films from Japan, South Korea and greater China (including Hong Kong) and Taiwan that have both participated in and been excluded from circuits of global-noir traffic, past and present. Noir is a form of generic expression, an international filmic sensibility and a discourse loosely joining innumerable texts and a range of production and reception phenomena. However defined and categorized, the genre offers a compelling frame through which to view individual works, looming political and cultural contexts, film industry and reception activity, and wider circuits and frictions of global screen-media flow.

This anthology looks at a range of East Asian films from the 1950s to the present - including The Crimson Kimono, Brother, Ghost in the Shell, Nowhere to Hide, Duelist and Rebels of the Neon God - that have been explicitly framed as film noir or East Asian noir, or that acquire legibility as noir texts through reception discourse and other critical activity. Contributors look at historical and contemporary cases to understand the terms on which national, regional and transnational cinemas conceive artistic expression. Their conceptualization and articulation of an internationally situated 'East Asian film noir' helps raise questions around the politics of representation, authorial activity, generic and modal positioning and local and cross-cultural reception.

Acknowledgements iv

Note on Names and Romanization v

Notes on Contributors vi

Introduction: A Very Rough Guide to East Asian Film Noir - Mark Gallagher 1

Part One - Japan: From Post-World War Two Crime and Drama to Anime Dystopias
1. Out of the Past: Film Noir, Whiteness and the End of the Monochrome Era in Japanese Cinema' - Daisuke Miyao 27
2. Kurosawa's Noir Quartet: Cinematic Musings on How to Be a Tough Man Dolores Martinez 1111
3. The Japanese Los Angeles of The Crimson Kimono and Brother Suzanne Arakawa 1111
4. Ghost in the Shell: The Noir Instinct - Dan North 1111

Part Two - South Korea: From Postwar Modernity to Crime and Detection on a Global Stage
5. Allegorizing Noir: Violence, Body and Space in the Postwar Korean Film Noir' - Hyun S. Park 1111
6. The True Colors of the 'Action Kid': Seung-wan Ryoo's Urban Film Noir - Kyu Hyun Kim 1111
7. A Mess of Contradictions? Korean Noir in Myung-se Lee's Nowhere to Hide and Duelist Daniel Martin 1111

Part Three - Three Chinas (Mainland China, Hong Kong and Taiwan), Many Noirs
8. From Urban Crime Thriller to Silent Ghost Story: Rebels of the Neon God and Taiwanese Neo-Noir Erin Yu-Tien Huang
9. Film Noir, Hong Kong Cinema and the Limits of Critical Transplant Andy Willis 1111
10. Life is Cheap: Chinese Neo-Noir and the Aesthetics of Disenchantment Philippa Lovatt 1111
11. Tony Leung's Noir Thrillers and Transnational Stardom Mark Gallagher 1111
12. Double Identity: The Stardom of Xun Zhou and the Figure of the Femme Fatale Chi-Yun Shin 1111