Rethinking Transnational Chinese Cinemas 在线电子书 pdf 下载 txt下载 epub 下载 mobi 下载 2024

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Jeremy E. Taylor 作者

Routledge

译者

2011-5-19 出版日期

192 页数

USD 165.00 价格

Hardcover

丛书系列

9780415493550 图书编码

Rethinking Transnational Chinese Cinemas 在线电子书图书标签: 中国电影电影研究电影史厦门美女电影民国史模特

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发表于2024-11-22

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Rethinking Transnational Chinese Cinemas 在线电子书 epub 下载 mobi 下载 pdf 下载 txt 下载 2024

Rethinking Transnational Chinese Cinemas 在线电子书 pdf 下载 txt下载 epub 下载 mobi 下载 2024

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从厦语片的研究挑战电影研究和文化研究关于transnational的论述，实在是很好的角度；分散于大陆、港、台与东南亚的资料，亦构成作者研究的挑战。作者从产业历史的角度勾勒厦语片的制作、表演与放映，新旧厦语片的更替以及与更大范围内冷战政治文化的互动，揭示这一独特片种在“跨国”面貌下的较为封闭与狭隘的制作模式与价值观，以及在港、台、东南亚三地地缘政治、经济与媒介文化变迁导致的命运衰微。

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冷战时期厦语片研究，非常精彩了

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廈語片

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冷战时期厦语片研究，非常精彩了

Rethinking Transnational Chinese Cinemas 在线电子书著者简介

Rethinking Transnational Chinese Cinemas 在线电子书图书目录

Rethinking Transnational Chinese Cinemas 在线电子书 pdf 下载 txt下载 epub 下载 mobi 在线电子书下载

Rethinking Transnational Chinese Cinemas 在线电子书图书描述

The Amoy-dialect film industry emerged in the 1950s, producing cheap, b-grade films in Hong Kong for direct export to the theatres of Manila Chinatown, southern Taiwan and Singapore. Films made in Amoy dialect - a dialect of Chinese - reflected a particular period in the history of the Chinese diaspora, and have been little studied due to their ambiguous place within the wider realm of Chinese and East Asian film history. This book represents the first full length, critical study of the origin, significant rise and rapid decline of the Amoy-dialect film industry. Rather than examining the industry for its own sake, however, this book focuses on its broader cultural, political and economic significance in the region. It questions many of the assumptions currently made about the 'recentness' of transnationalism in Chinese cultural production, particularly when addressing Chinese cinema in the Cold War years, as well as the prominence given to 'the nation' and 'transnationalism' in studies of Chinese cinemas and of the Chinese Diaspora. By examining a cinema that did not fit many of the scholarly models of 'transnationalism', that was not grounded in any particular national tradition of filmmaking and that was largely unconcerned with 'nation-building' in post-war Southeast Asia, this book challenges the ways in which the history of Chinese cinemas has been studied in the recent past.

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