Aaron Han Joon Magnan-Park - The Palgrave Handbook of Asian Cinema

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Editors

Aaron Han Joon Magnan-Park , Gina Marchetti and See Kam Tan

The Palgrave Handbook of Asian Cinema

Editors

Aaron Han Joon Magnan-Park

University of Hong Kong, Hong Kong, Hong Kong

Gina Marchetti

School of Humanities, University of Hong Kong, Hong Kong, Hong Kong

See Kam Tan

University of Macau, Macau, Singapore

ISBN 978-1-349-95821-4 e-ISBN 978-1-349-95822-1

https://doi.org/10.1057/978-1-349-95822-1

Library of Congress Control Number: 2018946621

The author(s) has/have asserted their right(s) to be identified as the author(s) of this work in accordance with the Copyright, Designs and Patents Act 1988.

The Editor(s) (if applicable) and The Author(s) 2018

This work is subject to copyright. All rights are solely and exclusively licensed by the Publisher, whether the whole or part of the material is concerned, specifically the rights of translation, reprinting, reuse of illustrations, recitation, broadcasting, reproduction on microfilms or in any other physical way, and transmission or information storage and retrieval, electronic adaptation, computer software, or by similar or dissimilar methodology now known or hereafter developed.

The use of general descriptive names, registered names, trademarks, service marks, etc. in this publication does not imply, even in the absence of a specific statement, that such names are exempt from the relevant protective laws and regulations and therefore free for general use.

The publisher, the authors and the editors are safe to assume that the advice and information in this book are believed to be true and accurate at the date of publication. Neither the publisher nor the authors or the editors give a warranty, express or implied, with respect to the material contained herein or for any errors or omissions that may have been made. The publisher remains neutral with regard to jurisdictional claims in published maps and institutional affiliations.

Cover image: fStop Images GmbH/Alamy Stock Photo

Cover design: Jenny Vong

This Palgrave Macmillan imprint is published by the registered company Springer Nature Limited

The registered company address is: The Campus, 4 Crinan Street, London, N1 9XW, United Kingdom

Contents

Aaron Han Joon Magnan-Park , Gina Marchetti and See Kam Tan

Part I Defining Asian Cinema in the 21st Century

Aaron Han Joon Magnan-Park

Derek Hon-kong Lam

Anne Ciecko

Ruby Cheung

Mark Gallagher

Stephanie DeBoer

Part II Locating the New Asian Cinema: Changing Aesthetics, Distribution Networks, and Global Connections

Murat Akser

Ran Ma

Eija Niskanen

Jonathan Wroot

Jennifer Coates

Part III Asian History in the Making

Daisuke Miyao

Earl Jackson

Krista Van Fleit

Kenny K. K. Ng

See Kam Tan

Part IV Remaking Asia and the Asian DiasporaNew Tales of an (Un) Common Past

Jing Yang

Yun Xia

Stacilee Ford

Wikanda Promkhuntong

Elena Kolesova

Part V Questioning Asian Bodies

Valerie Soe

Minoo Moallem

Jason Ka-hang Ho

Mila Zuo

Zoran Lee Pecic

Mikee N. Inton

Part VI Politics in Asian Film

Bruno Lovric

Dan Edwards

Jyotsna Kapur

Winnie L. M. Yee and Kiu-wai Chu

Gina Marchetti

Index

List of Figures

Peace Before Storm: The Concept of Trans-Asian Cinema andPeace After Storm ( Yuguo Tianqing, 1931 )

Fig. 1 Henry Kotani speaking to the cast of Peace After Storm . A Microphone is visible near the heads of the cast. Courtesy Henry Kotani Production

Fig. 2 Kotani checks his camera with his assistant. Courtesy Henry Kotani Production

Fig. 3 Lighting set-up of the living room scene where the orchestra plays. Courtesy Henry Kotani Production

Fig. 4 Darker lighting set-up of the dance hall scene. Courtesy Henry Kotani Production

Fig. 5 Kotani, staff, and the cast of Peace After Storm . Courtesy Henry Kotani Production

Fig. 6 Lina (Huang Naishuang). Courtesy Henry Kotani Production

Fig. 7 Wang Ailian (Lin Ruxin). Courtesy Henry Kotani Production

Fig. 8 Lina (Huang Naishuang) and Chen Xiaoying (Chen Qiufeng). Courtesy Henry Kotani Production

Fig. 9 Wang Ailian (Lin Ruxin). Courtesy Henry Kotani Production

Fig. 10 Wang Ailian (Lin Ruxin) and Chen Xiaoying (Chen Qiufeng). Courtesy Henry Kotani Production

Fig. 11 Wang Ailian (Lin Ruxin) caught in Lasky Lighting. Courtesy Henry Kotani Production

Fig. 12 Wang Ailian (Lin Ruxin) under attack in Lasky Lighting. Courtesy Henry Kotani Production

Fig. 13 Lina (Huang Naishuang) scared by the Nosferatu-looking shadow. Courtesy Henry Kotani Production

Reframing Loss: Japanese Cinematic Melancholia in Inter-Asian Contexts

Fig. 1 The eye as signal. Love Letter (Iwai Shunji 1995)

Unbecomings in East Asian Womens Cinema: Naomi Kawase, Yim Soon-rye, and Li Yu

Fig. 1 Kyoko (Jun Yoshinaga) as Kawases diegetic alter-ego stares defiantly at death in Still the Water (Futatsume no mado, Naomi Kawase, 2014)

Fig. 2 Yim Soon-rye renders her labor as a woman author visible in the end credits of The Weight of Her (2003)

Fig. 3 Song Qis (Fan Bingbing) feminine masquerade in Double Xposure (Li Yu, 2012) is a symptom of her false consciousness and inhabitance in an imaginary world

Fig. 4 In contrast with the feminine faade in the mirror, Song Qi reveals her actual nonsensical appearance

Between Real and Unreal: Representability and Auteurship in Queer Hong Kong Cinema

Fig. 1 Marylyn Monroe performing Diamonds Are a Girls Best Friend, in Gentlemen Prefer Blondes (Howard Hawks, 1953)

Fig. 2 Yang Kuei-mei performing Grace Changs Achoo Cha Cha, in The Hole (Tsai Ming-liang, 1998)

Fig. 3 Elderly woman, in Soundless Wind Chime (Kit Hung, 2009)

Fig. 4 Achoo Cha Cha, in Soundless Wind Chime

Local Stories, Global Catastrophe: Reconstructing Nation, Asian Cinema, and Asian Eco-consciousness in Japans 3.11 Films

Fig. 1 A sense of the uncanny is generated with Chieko and the cows wandering together on the pedestrian streets ( The Land of Hope , 2012). All living beings have become equal in the face of the catastrophe

Fig. 2 The news footage on TV is juxtaposed with the silent presence of inanimate everyday objects

Clara Law, Asia, and World Cinema:Letters to Ali(2004)

Fig. 1 The dragon clouds conclude Letters to Ali (2004)

List of Tables

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