Surveillance in Asian Cinema: Under Eastern Eyes

ISBN-13: 9780367875381 / Angielski / Miękka / 2019 / 284 str.

Karen Fang

Opis

 Exploring recent and historical movies made in post-social and anti-Communist societies such as China, Hong Kong, Taiwan, Vietnam and South Korea, this book picks up on the political and economic concerns implicitly underlying Sinophobic and anti-Communist Asian images in Hollywood films while also considering how these societies and state

Spis treści

Introduction: Asian Cinema and the "Surveillance Archipelago"

[Karen Fang]

Part I: Cold War

1. The Might of the People: Counter-Espionage Films and Participatory Surveillance in the Early PRC

[Xiaoning Lu]

2. Closely Watched Films: Surveillance and Postwar Hong Kong Leftist Cinema

[Man-fung Yip]

3. The Dis/appearance of Animals in Animated Film during the Chinese Cultural Revolution, 1966-1976

[Daisy Yan Du]

Part II: Market Reform

4. Under Western Eyes? Colonial Bureaucracy, Surveillance and the Birth of the Hong Kong Crime Film

[Kristof Van den Troost]

5. Taiwan’s Cold War Geopolitics in in Edward Yang’s The Terrorizers

[Catherine Liu]

6. Sovereignty, Surveillance and Spectacle in the The Saigon Fabulous Four

[Duy Lap Nguyen]

7. Sonic Secrets as Counter-Surveillance in Wong Kar-wai’s In the Mood for Love

[Timmy Chen Chih-ting]

Part III: Global Capital

8. Dividuated Korean Cinema: Recent Body Switch Films in the Overwired Age

[Kyung Hyun Kim]

9. Implication through Dissociation: Cinematic Enactment Tactics of State Surveillance in Cold Eyes

[Helen Shin]

10. Wasted! Power versus civilization in a martial arts action movie, viewed with Indonesian/Western eyes

[Tony Day]

11. Discreet Camera-Eye, Spectacle, and Stranger Sociality: On the Shift to Prosumer Digital Surveillance in China

[Renren Yang]

O autorze

Karen Fang is Associate Professor at the Department of English at the University of Houston, USA, where she teaches literature and film studies. Her previous publications include Arresting Cinema: Surveillance in Hong Kong Film (2017) and John Woo’s A Better Tomorrow (2004).