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Full Description
This book is available as open access through the Bloomsbury Open programme and is available on www.bloomsburycollections.com. It is funded by the University of Manchester.
Films are produced, reviewed and watched worldwide, often circulating between cultural contexts. The book explores cosmopolitanism and its debates through the lens of East Asian cinemas from Hong Kong, China, Malaysia and Singapore, throwing doubt on the validity of national cinemas or definitive cultural boundaries. Case studies illuminate the ambiguously gendered star persona of Taiwanese-Hong Kong actress Brigitte Lin, the fictional realism of director Jia Zhangke, the arcane process of selection for the Best Foreign Film Oscar and the intimate connection between cinema and identity in Hirokazu Koreeda's Afterlife (1998). Considering films, their audiences and tastemaking institutions, the book argues that cosmopolitan cinema does not smooth over difference, but rather puts it on display.
The ebook editions of this book are available open access under a CC BY-NC-ND 3.0 licence on bloomsburycollections.com. Open access was funded by the University of Manchester, UK
Contents
Introduction
I. Forms and Identities
2. Wuxia cross-dressing and transgender identity: The roles of Brigitte Lin Ching- hsia from Swordsman II to Ashes of Time
3. Performing history in Ang Lee's Lust, Caution
4. Backstage/onstage cosmopolitanism: Jia Zhangke's The World, Still Life and 24 City
II. Institutions and Economies
5. The International Film Festival and the Making of a National Cinemas: The case of Rotterdam and a Malaysian-Chinese film
6. When a foreign-language film has 'too much English' in it: The case of a Singapore film and the Oscars
III. Assemblages and Embodiments
7. Trompe l'oeil animation in Satoshi Kon's Perfect Blue, Millennium Actress, and Paprika
8. Remembering to forget: Cinematic memory as self-redemption in Hirokazu Koreeda's Afterlife
