Titlebook: Chinese Film Festivals; Sites of Translation Chris Berry,Luke Robinson Book 2017 The Editor(s) (if applicable) and The Author(s) 2017 arts.

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Sole Traders, Cultural Brokers, and Chinese-Language Film Festivals in the United Kingdom: The Londoaiwan Cinefest and the Chinese Visual Festival, it addresses the role of individual cultural brokers in both establishing transnational festival networks and translating Chinese-language cinema for local audiences. The Cinefest frames the idea of “Taiwanese Cinema” through practices derived from com

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Clara Law’s ,: The Hong Kong International Film Festival and the Cultural Politics of the Sponsored anion to the feature. The chapter uses . to explore the various ways Chinese film festivals pair up with established auteurs to produce shorts, circulate them in various international festivals, exhibit them online, and exploit them for publicity. It concludes by using this case to expand the defini

情爱

Rural Films in an Urban Festival: Community Media and Cultural Translation at the Yunnan Multi Cultun China. Yunfest’s Participatory Visual Education (PVE) program, which featured rural community media and documentaries as part of the festival over its ten year run, enabled rural filmmakers to show their work to an audience and participate in the festival experience. Thus, as this chapter argues,

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Translating the Margins: New Asian Cinema, Independent Cinema, and Minor Transnationalism at the Hon of the role of film festivals in promoting public cultures and public debate. This chapter looks at the Hong Kong Asian Film Festival (HKAFF) as a case study of how activist practices of screen selection, competition, and mediation have helped to foster new identities and social imaginaries that tr

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Book 2017vals function as sites of translation, translating Chinese culture to the world and world culture to Chinese-speaking audiences, and also how the international film festival model is being transformed as it is translated into the Chinese-speaking world..

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异端邪说下

Reading and Writing the Electronic Bookh the lens of an intangible asset such as reputational capital, the author tackles the strategy and the impact of such a large-scale event both in relation to the domestic market and the international film festival scene.