Worldly Desires
Cosmopolitanism and Cinema in Hong Kong and Taiwan
Series: Edinburgh Studies in East Asian Film;
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Product details:
- Edition number 2, New edition
- Publisher Edinburgh University Press
- Date of Publication 2 October 2018
- Number of Volumes Print PDF
- ISBN 9781474428453
- Binding Hardback
- No. of pages264 pages
- Size 234x156 mm
- Weight 534 g
- Language English
- Illustrations 20 black and white illustrations Illustrations, black & white 10
Categories
Short description:
With case studies of popular stars like Linda Lin Dai and Edison Chen, and spectacular genres like the Shaolin Temple cycle of martial arts films, the book explores what it meant to be both cosmopolitan and Chinese in the second half of the 20th century.
MoreLong description:
How does cinema imagine our place in the world? Worldly Desires: Cosmopolitanism and Cinema in Hong Kong and Taiwan looks at the studios, films and policies that charted the transnational vision of Hong Kong and Taiwan, two places with an uneasy relationship to the idea of nationhood. Examining the cultural, political and industrial overlaps between these cinemas, as well as the areas where they uniquely parallel each other, this book brings together perspectives from cinema studies, Chinese studies and Asian American studies to show how culture is produced in the spaces between empires. With case studies of popular stars like Linda Lin Dai and Edison Chen, and spectacular genres like the Shaolin Temple cycle of martial arts films, the book explores what it meant to be both cosmopolitan and Chinese in the second half of the 20th century.
MoreTable of Contents:
Acknowledgements
Introduction
Chapter 1: Melodramas of Arrival and Departure: jet-set students in 1970s Taiwanese romance
Chapter 2: ABCs, Mixed-race Stars, and other Monsters of Globalization
Chapter 3: Setting the Stage: Hong Kong musical stars take on the world
Chapter 4: All the Right Moves: mobile heroes and the Shaolin Temple film
Chapter 5: The Cosmopolitan Brand: film policy as cultural work in the international film market
Chapter 6: Conclusion
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