Titlebook: Renegotiating Film Genres in East Asian Cinemas and Beyond; Lin Feng,James Aston Book 2020 The Editor(s) (if applicable) and The Author(s)

他去就结束

The Wolf Is Coming: Genre Hybridity in the Contemporary Chinese Blockbusteropriation and adaption of existing cinematic systems. For example, . incorporates Hollywood blockbuster aesthetics and World War II U.S. combat film narratives with Chinese cultural forms such as . and the knight errant. The outcome is the production of a hybrid genre existing within, outside and across national boundaries.

MUTED

傻

Chinese Censorship, Genre Mediation, and the Puzzle Films of Leste Chenmonstrates how Chen’s puzzle films exploit genre conventions and normative viewing activities in pursuit of complex effects, but also argues that Chen finds ingenious ways to circumvent the PRC’s rigorous censorship regulations, yielding genre films that are both narrationally complex and politically subversive.

拖网

送秋波

Book 2020ultural translation, this book not only reevaluates genre’s role in film production, distribution, and consumption, but also tackles several under-explored areas in film studies and transnational cinema, such as the history of East Asian commercial cinema, the East Asian film industry, and cross-media and cross-market film dissemination.

迅速成长

Book 2020rgent and pertinent issues such as the distribution and exhibition practices of East Asian genre films, intra-regional creative flow of screen culture, and genre’s creative response to censorship. The volume expands the scholarly discussion of the rich heritage and fast-changing landscape of filmmak

Digest

Rapidly Shifting Landscapes: Two Case Studies in the UK Distribution and Exhibition of Chinese Langun comparison, the commercial model not only intends to capitalize on the commercial value of genre films by targeting overseas Chinese audiences but also attempts to reposition those films within the cultural debates of UK markets.

爆炸

Premodern History and the Contemporary South Korean Period Blockbustern important barometer of South Korean social, political, and cultural direction framed by their traumatic past and modern post-colonial sensibility. Thus, the chapter concludes that the historical film emerges as a transcultural genre that can point to many indices of Korean film history.

PAC

Introduction,onal cinemas. It presents an overview of the development of genre study and identifies three interrelated pathways to expand our understanding of genre’s roles in (a) articulating transnational and cross-cultural communication, (b) shaping film history and film culture, and (c) mapping out sociopoli

向前变椭圆

Rapidly Shifting Landscapes: Two Case Studies in the UK Distribution and Exhibition of Chinese Langurawing upon their experiences as film curators, Willis and Elliott provide a detailed analysis of two new models, namely the cultural and the commercial. Although existing predominantly within the UK’s independent film exhibition sector, the cultural model intends to articulate the important positio