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)

Fester

变形词

The Wolf Is Coming: Genre Hybridity in the Contemporary Chinese Blockbuster) and . (Dante Lam, 2018). These films operate within the discursive landscape of contemporary and historical genre forms while connecting to the appropriation and adaption of existing cinematic systems. For example, . incorporates Hollywood blockbuster aesthetics and World War II U.S. combat film n

连词

非实体

Pandemic

颂扬本人

Critiquing New Generational Japanese Horror: “Youthful Fatalisms, Old Aesthetics”cement of millennials within Japanese society. Tracing .-.-. aesthetics and thematics back to the well-established tradition in Japanese .-. (woodblock prints) arts from the eighth century, the chapter highlights how contemporary Japanese horror films demonstrate a consciousness to break away from t

Pulmonary-Veins

Genre and Censorship: The Crime Film in Late Colonial Hong Kongse. Specifically, it looks at one neglected field in which the Hong Kong crime film was constituted as a genre: government censorship in the period before the 1997 Handover. The chapter argues that in Cold War Hong Kong, there existed a somewhat paradoxical interconnection between the colonial gover

Cabinet

Old Shanghai and Film Noir Cross Overnowledged among scholars that film noir and noir films should be understood beyond its original context of Hollywood. This chapter examines noir film’s local expression through the Shanghai . films. It questions why Shanghai, especially old Shanghai, is chosen by Chinese filmmakers as an imaginative

很是迷惑

构想

https://doi.org/10.1057/9781137010544pensable component is largely uncertain. Very few studies have taken the matter in a holistic way that includes groundwater as an explicit variable. Hence the question: “.?” is yet to be quantified for societal impact studies e.g. chapter 3 of IPCC Report (2014). Any natural resource can be extracte