Esta serie se adentra en el rico y diverso mundo del cine de Asia Oriental. Explora sus géneros principales, autores significativos y los intrincados vínculos entre las tradiciones cinematográficas regionales. Además, examina el crecimiento y el impacto del cine transnacional, ofreciendo una visión completa de cómo estas películas dan forma a la cultura global. Los lectores obtendrán una profunda apreciación de las fuerzas artísticas y culturales que impulsan el cine en esta dinámica región.
In this ground-breaking investigation into the seldom-studied film culture of colonial Korea (1910-1945), Dong Hoon Kim brings new perspectives to the associations between colonialism, modernity, film historiography and national cinema.
The first comprehensive collection on the subject of Hong Kong neo-noir cinema, this book examines the way Hong Kong has developed its own unique and culturally specific version of the neo-noir genre, while at the same time drawing on and adapting existing international noir cinemas.
This book offers a new interpretation of Ozu Yasujiro's career, from his earliest work in the 1920s up to his death in 1963, focusing on Ozu's depiction of the everyday life and experiences of ordinary Japanese people during a time of depression, war and economic resurgence.
How does cinema imagine our place in the world? This book 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 - author Brian Hu 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 and the romantic melodramas of 1970s Taiwan, this book explores what it meant to be both cosmopolitan and Chinese in the second half of the twentieth century.