- [UNTITLED]
- Contributors
- Introduction: Chinese Cinemas and the Art of Extrapolation
- D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai
- Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty
- Fei Mu, Mei Lanfang, and the Polemics of Screening China
- A National Cinema for a Puppet State: The Manchurian Motion Picture Association
- A Genealogy of Cinephilia in the Maoist Period
- Cold War Politics and Hong Kong Mandarin Cinema
- Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema
- Taiwan New Cinema: Small Nation with Soft Power
- Chinese Cinema With Hollywood Characteristics, or How <i>The Karate Kid</i> Became a Chinese Film
- World as Picture and Ruination: On Jia Zhangke’s Still Life as World Cinema
- The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form
- A Small History of <i>Wenyi</i>
- Art, Politics, and Internationalism: Korean War Films in Chinese Cinema
- Edification Through Affection: The Cultural Revolution Films, 1974–1976
- Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity
- Desire and Distribution: Queer/Chinese/Cinema
- Thirdspace Between Flows and Places: Chinese Independent Documentary and Social Theories of Space and Locality
- From Anticorruption to Officialdom: The Transformation of Chinese Dynasty TV Drama
- New Media: Large Screens in China
- Online Small-Screen Cinema: The Cinema of Attractions and the Emancipated Spectator
- Acting Real: Cinema, Stage, and the Modernity of Performance in Chinese Silent Film
- Edward Yang and Taiwan’s Age of Auteurs
- A Marriage of Convenience: Musical Moments in Chinese Movies
- Policing Film in Early Twentieth-Century China, 1905–1923
- Between Will and Negotiation: Film Policy in the First Three Years of the People’s Republic of China
- Fetish Power Unbound: A Small History of “Woman” in Chinese Cinema
- Ethnographic Representation Across Genres The Culture Trope in Contemporary Mainland Media
- Conjuring the Masses: The Spectral/Spectacular Crowd in Chinese Film
- The Idea of Asia(nism) and Trans-Asian Productions
- Film and Contemporary Chinese Art: Mediums and Remediation
- Crossing the Same River Twice: Documentary Reenactment and the Founding of PRC Documentary Cinema
- Remade in China: Cinema with “Chinese Elements” in the Dapian Age
- Along the Riverrun: Cinematic Encounters in Tsai Ming-Liang’s The River
- Afterword (<span xml:lang="chi">尾聲</span>)
- Filmographies
- Index
Abstract and Keywords
This chapter examines how the idea of Asia(ism) as an abstract form seeks its own content through the representations in Chinese cinemas. It looks at some historical instances in Chinese cinematic productions, including the occupation cinema of Shanghai, the wartime Chongqing cinema, the leftist films of the Chinese Communist Party during the Sino-Japanese War, the PRC’s movies about the Korean War and the Cold War, and Hong Kong’s trans-Asian productions during the Cold War, in which the idea of Asia has been played out for utopian vision or ideological manipulation. With the visibility of alluring images on display via the signification of the cinematic apparatus, Asia as an intangible, transcendental idea generates certain affective or cognitive functions that may rupture or conceal the interpellating role of the film medium.
Keywords: Asia, Asianism, ideology, Chinese cinemas, occupation cinema, Shanghai, Chongqing, Sino-Japanese War, Korean War, Cold War, Hong Kong, trans-Asian production
Kwai-Cheung Lo is Director of Creative and Professional Writing Program at Hong Kong Baptist University, and is the author of "Excess and Masculinity in Asian Cultural Productions" and "Chinese Face / Off: The Transnational Popular Culture of Hong Kong." Currently he is working on a book manuscript of ethnic minority cinema in China.
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- [UNTITLED]
- Contributors
- Introduction: Chinese Cinemas and the Art of Extrapolation
- D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai
- Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty
- Fei Mu, Mei Lanfang, and the Polemics of Screening China
- A National Cinema for a Puppet State: The Manchurian Motion Picture Association
- A Genealogy of Cinephilia in the Maoist Period
- Cold War Politics and Hong Kong Mandarin Cinema
- Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema
- Taiwan New Cinema: Small Nation with Soft Power
- Chinese Cinema With Hollywood Characteristics, or How <i>The Karate Kid</i> Became a Chinese Film
- World as Picture and Ruination: On Jia Zhangke’s Still Life as World Cinema
- The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form
- A Small History of <i>Wenyi</i>
- Art, Politics, and Internationalism: Korean War Films in Chinese Cinema
- Edification Through Affection: The Cultural Revolution Films, 1974–1976
- Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity
- Desire and Distribution: Queer/Chinese/Cinema
- Thirdspace Between Flows and Places: Chinese Independent Documentary and Social Theories of Space and Locality
- From Anticorruption to Officialdom: The Transformation of Chinese Dynasty TV Drama
- New Media: Large Screens in China
- Online Small-Screen Cinema: The Cinema of Attractions and the Emancipated Spectator
- Acting Real: Cinema, Stage, and the Modernity of Performance in Chinese Silent Film
- Edward Yang and Taiwan’s Age of Auteurs
- A Marriage of Convenience: Musical Moments in Chinese Movies
- Policing Film in Early Twentieth-Century China, 1905–1923
- Between Will and Negotiation: Film Policy in the First Three Years of the People’s Republic of China
- Fetish Power Unbound: A Small History of “Woman” in Chinese Cinema
- Ethnographic Representation Across Genres The Culture Trope in Contemporary Mainland Media
- Conjuring the Masses: The Spectral/Spectacular Crowd in Chinese Film
- The Idea of Asia(nism) and Trans-Asian Productions
- Film and Contemporary Chinese Art: Mediums and Remediation
- Crossing the Same River Twice: Documentary Reenactment and the Founding of PRC Documentary Cinema
- Remade in China: Cinema with “Chinese Elements” in the Dapian Age
- Along the Riverrun: Cinematic Encounters in Tsai Ming-Liang’s The River
- Afterword (<span xml:lang="chi">尾聲</span>)
- Filmographies
- Index
