Titlebook: Sinophone Cinemas; Audrey Yue (Associate Professor in Screen and Cult Book 2014 Palgrave Macmillan, a division of Macmillan Publishers Lim

Forehead-Lift

Mandarin Pop Meets Tokyo Jazz: Gender and Popular Youth Culture in Late-1960s Hong Kong Musicalsnging and dancing. Scholar Stephen Teo (1993) has asserted ‘Few leading men ever carried a musical picture. [...] [I]n stark contrast to the women, the men were weak and sissified’ (Teo, 1993, p. 37). While the bulk of Hong Kong Mandarin musicals until the mid-1960s privilege the figure of the songs

saturated-fat

过时

Blanch

British Chinese Short Films: Challenging the Limits of the Sinophonework to a Sinophonic one, we argued for the retention of the former against the latter on grounds that the notion of diaspora continues to speak to the historical and geographical dimensions of Chinese cinemas outside of China, whereas the notion of the Sinophone, delineated according to linguistic

征兵

伪善

Abrupt

Initiative

Singapore, Sinophone, Nationalism: Sounds of Language in the Films of Tan Pin PinSingapore nationalism and the notion of Singapore as a Sinophone settler colony.. Although Singapore can be considered part of the Sinophone network, its official and unofficial language policies and practices mean that it is only ‘Sinophone’ in particular ways and at particular times.

情感脆弱

Contemporary Sinophone Cinema: Australia-China Co-Productionshone world. Unlike the dominant Chinese diasporas and their migrant mediascapes in the West, Australia’s Chinese communities and their media practices are marked by excentricism, an off-centredness that locates the specific place of the country in the Asia Pacific region, as South of the West (Gibson, 1992).

合乎习俗

978-1-349-45687-1Palgrave Macmillan, a division of Macmillan Publishers Limited 2014