Notes
Introduction 1. The report is available online at http://www.un.org/esa/population/publications/ wup2007/2007WUP_Highlights_web.pdf, p. 1 (accessed February 28, 2009). 2. Peter G. Rowe, East Asia Modern: Shaping the Contemporary City (London: Reaktion Books, 2005), 7. 3. Zhang Tingwei, “Land Market Forces and Government’s Role in Sprawl: The Case of China,” Cities 17.2 (April 2000): 128. 4. See Saskia Sassen, The Global City: New York, London, Tokyo (Princeton: Princeton University Press, 2001). 5. Neil Smith, “Contours of a Spatialized Politics: Homeless Vehicles and the Production of Geographic Scale,” Social Text 33 (1992): 66. 6. Ashley Dawson and Brent Hayes Edwards, “Introduction: Global Cities of the South,” Social Text 22.4 (#81) (Winter 2004): 1. 7. One of the key texts analyzing the particular image environment that develops in these eras of accelerated economic development is Angelo Restivo’s The Cinema of Economic Miracles: Visuality and Modernity in the Italian Art Film (Durham, NC: Duke University Press, 2002). 8. See Anna Klingmann, Brandscapes: Architecture in the Experience Economy (Cambridge, MA: MIT Press, 2007). 9. See program of The 18th Hong Kong International Film Festival, Cinema of Two Cities: Hong Kong and Shanghai (Hong Kong: Shi Zhenju, 1994). 10. Anna Tsing discusses the charismatic force of globalization rhetoric, the successor in many ways to the equally “seductive” and related rhetoric of modernization in “The Global Situation,” Cultural Anthropology 15.3 (August 2000): 330. 11. Walter Benjamin, The Arcades Project, ed. Roy Tiedemann, trans. Howard Eiland and Kevin McLaughlin (Cambridge, MA: Harvard University Press), 405. 12. From an interview with Chen Kuo-Fu at “Double Vision: Taiwan Cinema Here and There,” an international conference at Yale University in 2003 and quoted in Dudley Andrew’s essay in this volume. 13. These volumes include the following: Mark Shiel and Tony Fitzmaurice, eds., Cinema and the City: Film and Urban Societies in a Global Context (Oxford: Blackwell Publishers, 2001); Shiel and Fitzmaurice, eds., Screening the City (London: Verso, 2003); Linda Krause and Patrice Petro, eds., Global Cities: Cinema, Architecture, and Urbanism in a Digital Age (Piscataway, NJ: Rutgers University Press, 2002); Stephen Barber, Projected Cities: Cinema and Urban Space (London: Reaktion Books, 2002); and David B. Clarke, The Cinematic City (London: Routledge, 1997). Notes 14. “Mass Production of the Senses,” Modernism/Modernity 6.1 (1999): 68. 15. Alys Eve Weinbaum et al., eds., The Modern Girl around the World: Consumption, Modernity, and Globalization (Durham, NC: Duke University Press, 2008); Zhang Zhen, An Amorous History of the Silver Screen: Shanghai Cinema, 1896–1937 (Chicago: University of Chicago Press, 2006). 16. Christine Boyer, The City of Collective Memory: Its Historical Imagery and Architectural Entertainments (Cambridge, MA: MIT Press, 1996), 47. 17. Geoffrey Nowell-Smith, “Cities: Real and Imagined,” in Shiel and Fitzmaurice, eds., Cinema and the City, 104. 18. Miriam Bratu Hansen, “Fallen Women, Rising Stars, New Horizons: Shanghai Silent Film as Vernacular Modernism,” Film Quarterly 54.1 (Fall 2000): 10–22, see 10. 19. Fredric Jameson, “Notes on Globalization as a Philosophical Issue,” in Fredric Jameson and Masao Miyoshi, eds., The Cultures of Globalization (Durham, NC: Duke University Press, 1999), 55, 57. 20. Anthony Vidler, Warped Space: Art, Architecture, and Anxiety in Modern Culture (Cambridge, MA: MIT, 2003), 234. Chapter 2 1. Fredric Jameson, “Remapping Taipei,” in The Geopolitical Aesthetic: Cinema and Space in the World System (Bloomington: Indiana University Press, 1992); Ackbar Abbas, Hong Kong: Culture and the Politics of Disappearance (University of Minnesota Press and Hong Kong University Press, 1998). 2. Fredric Jameson, “Diva and French Socialism,” in Signatures of the Visible (New York: Routledge, 1990). 3. Dudley Andrew and Steven Ungar, Popular Front Paris and the Poetics of Culture (Cambridge: Harvard University Press, 2005), 347–50. 4. Margaret Cohen, Profane Illuminations: Walter Benjamin and the Paris of Surrealist Revolution (University of California Press, 1993), 90. 5. Cited in ibid. 6. In 1983 Assayas visited the Hong Kong film festival and began to champion Asian cinema, reporting on this for Cahiers du Cinéma (special issue, September 1984). As a filmmaker he has returned again and again to Asia, often with Maggie Cheung whom he married in 1991. 7. Hou Hsiao-hsien, “In Search of New Genres and Directions for Asian Cinema,” Rouge 1 (2003). 8. Ibid. 9. Chen Kuo-fu, remarks after screening Double Vision at Yale University, October 31, 2003. 10. Kyung Hyun Kim, Remasculinization of Korean Cinema (Duke University Press, 2004). 11. Ackbar Abbas, in Linda Krause and Patrice Petro, eds., Global Cities: Cinema, Architecture...
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