Marion Evelyn Hong before and after the Curse of the Quon Gwon (1916) Journal of Chinese Cinemas Pub Date : 2024-02-12 Lisa Kumaradjaja, Chris Kumaradjaja
This article is a result of an invitation to share the authors’ knowledge and family stories and offer perspectives about Marion E. Hong (1895–1969, also known as Marion Evelyn Wong). The intent is...
Sticking with Trans: Reconsidering Chinese American Cinema through Anna May Wong Journal of Chinese Cinemas Pub Date : 2024-02-05 Yiman Wang
This article asks what exactly makes the trans a key concept in our understanding of Sino-American filmic transactions. By studying two silent films of the Chinese American film pioneer, Anna May W...
Hou Hsiao-hsien’s acousmatic sound: Listening to urban noises and decadent music in Daughter of the Nile Journal of Chinese Cinemas Pub Date : 2024-02-06 Raymond Kun-Xian Shen
This article reconsiders the mediation of urban noises and decadent music in Hou Hsiao-hsien’s long-overlooked film Daughter of the Nile (1987) under the dual contexts of noise control and popular ...
Playing the minzu/minzoku card: Melodramas of race and nation in colonial Manchuria Journal of Chinese Cinemas Pub Date : 2023-12-21 Xinyi Zhao
Through the lens of minzu/minzoku (‘ethos’, ‘race’, or ‘nation’), this paper examines the melodrama practices of the Manchuria Film Association (Manying), a Japan-financed film production company t...
The making and screening of independent films in the absence of radical Revolution: An interview with Augustine Mok Chiu-yu on social movements, technology, and censorship Journal of Chinese Cinemas Pub Date : 2023-12-15 Tom Cunliffe, Raymond Tsang
This is a wide-ranging interview with Augustine Mok Chiu-yu. It focuses on topics including film exhibition in Hong Kong of political films from across the globe and the making of independent and e...
A scholarly roundtable with Deep Focus and DIRECTUBE Journal of Chinese Cinemas Pub Date : 2022-01-19 Liuying Cao, Lin Che, Timmy Chih-Ting Chen, Xiaoran Chen, Belinda Qian He, Zoe Meng Jiang, Ran Ma, Hancheng Shen, Jin Zhao
Abstract Co-organized by JCC’s guest editors Timmy Chen and Belinda He, a roundtable discussion took place between December 2020 and January 2021. Co-founders of two remarkable cinephilic organizations in the Chinese-speaking world (Deep Focus and DIRECTUBE) and scholars from various backgrounds were invited to share their observations and insights about cinema and cinephilia. Participants from six
A scholarly roundtable part II Bérénice Reynaud: ‘The love of cinema is also the love of encountering people’ Journal of Chinese Cinemas Pub Date : 2022-01-17 Bérénice Reynaud
ABSTRACT A roundtable discussion organized by the JCC’s two guest co-editors, Timmy Chih-Ting Chen and Belinda Qian He, took place between early December 2020 and January 2021. Scholars from a variety of backgrounds and co-founders of two remarkable cinephilic organizations/groups (Deep Focus and DIRECT UBE) in the Chinese-speaking world were invited to share their experiences and ideas about cinema
Is Loveless (2017) a film festival film on demand? Journal of Chinese Cinemas Pub Date : 2021-11-23 Huanle Fenlie, Ba Pu, Kai Yin, Jin Zhao, Kelly Fan, Jianqing Chen
Abstract This is a Deep Focus roundtable discussing Russian director Andrey Zvyagintsev’s film Loveless (2017), originally published on 1 July 2018, and facilitated by then editor, Zhao Jin. While two of the guests expressed relatively positive opinions of the film, film scholar Kai Yin gave Loveless a low score, calling it a dianying jie feihua yishu dianying (literally, ‘nonsense arthouse cinema
Cinema at the table, cinema as roundtable Journal of Chinese Cinemas Pub Date : 2021-11-23 Belinda Qian He
Abstract Despite its great physical or symbolic weight in the studies of architecture and design, the table, especially the roundtable in cinema—and its place in the history and historiographies of moving images—remains overlooked and undertheorized. This essay aims to provide an overview of why the notion of the roundtable is integral to our examination of global Chinese cinephilia throughout the
Porous circuits: Tsai Ming-liang, Zhao Liang, and Wang Bing at the Venice International Film Festival and the interplay between the festival and the art exhibition circuits Journal of Chinese Cinemas Pub Date : 2019-05-04 Elena Pollacchi
Abstract From the perspective of film festival studies and on the basis of my first-hand experience at the Venice Film Festival, this article sheds some light on how the works of Tsai Ming-liang, Zhao Liang, and Wang Bing elucidate the interplay between the art exhibition and film festival circuits. These artist-filmmakers have contributed to and taken advantage of the porosity between the two circuits
Jin Xi: Master of puppet animation Journal of Chinese Cinemas Pub Date : 2017-05-04 Sean Macdonald
ABSTRACT Puppet animation was one of the key forms of animation at Shanghai meishu dianying zhipianchang and would remain so until the late 1970s transition into television. One of the most important puppet animators at the studio, Jin Xi 靳夕, contributed to approximately 23 productions, including features, shorts, and a television series. Jin Xi's animation theory, partially derived from poetics, represents
Screens Journal of Chinese Cinemas Pub Date : 2016-01-02 Hongwei Thorn Chen
dramatize the myriad possibilities of scalar thinking. Scale sheds light on the stakes of contemporary life by calling attention to the standards by which we judge an entity to be significant or meaningful. Are we to view human beings as mere specks of dust in the vast universe? Or, are human beings themselves wondrous galaxies of atoms? Are we to think of the Earth as an insignificant rock in the
Ecocinema Journal of Chinese Cinemas Pub Date : 2016-01-02 Kiu-wai Chu
The first use of the term ‘ecocinema’ may be traced back to Roger C. Anderson’s ‘Ecocinema: A Plan for Preserving Nature’ when he proposes to film all living organisms in the world and show them in theatres with simulated conditions that resemble natural environments, as a way of preserving nature (Anderson, BioScience, 25 (7), 1975, first published in 1966). Anderson’s proposal was more of a sarcastic