Hong Kong University Press, HKU

TransAsia: Screen Cultures

Published by: Hong Kong University Press, HKU

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TransAsia: Screen Cultures

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Cinema at the City's Edge

Film and Urban Networks in East Asia

Edited by Yomi Braester, James Tweedie

This anthology presents a number of leading voices on contemporary Asian cinema studies, including Ackbar Abbas, Chris Berry, Emilie Yueh-yu Yeh, Darrell William Davis, Dudley Andrew, Yomi Braester, Susie Jie Young Kim, Akira Mizuta Lippit, James Tweedie, Yiman Wang and Zhang Zhen. Through a range of interdisciplinary responses that simultaneously investigate film practices and technologies, the contributors offer a timely look at the ever-shifting cities in East Asia and their portrayal in cinema.

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Cultural Studies and Cultural Industries in Northeast Asia

What a Difference a Region Makes

Chris Berry ,Nicola Liscutin ,Jonathan D. Mackintosh

Highlights how regional popular cultures and creative industries have become globally powerful, analyzing gender and labor issues amid differing regulatory frameworks of cultural production and piracy in Asia.

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East Asian Pop Culture

Analysing the Korean Wave

Edited by Beng Huat Chua ,Koichi Iwabuchi

This volume provides, collectively, a multi-layered analysis of the emerging East Asian media culture, using the Korean TV drama as its analytic vehicle.

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Horror to the Extreme

Changing Boundaries in Asian Cinema

Edited by Jinhee CHOI ,Mitsuyo Wada-Marciano

This book compares production and consumption of Asian horror cinemas in different national contexts and their multidirectional dialogues with Hollywood and neighboring Asian cultures.

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Japanese Cinema Goes Global

Filmworkers' Journeys

Yoshiharu Tezuka

Japan’s film industry has gone through dramatic changes in recent decades, as international consumer forces and transnational talent have brought unprecedented engagement with global trends. With careful research and also unique first-person observations drawn from years of working within the international industry of Japanese film, the author aims to examine how different generations of Japanese filmmakers engaged and interacted with the structural opportunities and limitations posed by external forces, and how their subjectivity has been shaped by their transnational experiences and has changed as a result. Having been through the globalization of the last part of the twentieth century, are Japanese themselves and overseas consumers of Japanese culture really becoming more cosmopolitan? If so, what does it mean for Japan’s national culture and the traditional sense of national belonging among Japanese people?

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Korean Masculinities and Transcultural Consumption

Yonsama, Rain, Oldboy, K-Pop Idols

Sun Jung

South Korean masculinities have enjoyed dramatically greater influence in recent years in many realms of pan-Asian popular culture, which travels freely in part because of its hybrid trans-nationalistic appeal. This book investigates transcultural consumption of three iconic figures — the middle-aged Japanese female fandom of actor Bae Yong-Joon, the Western online cult fandom of the thriller film Oldboy, and the Singaporean fandom of the pop-star Rain. Through these three specific but hybrid contexts, the author develops the concepts of soft masculinity, as well as global and postmodern variants of masculine cultural impacts. In the concluding chapter, the author also discusses recently emerging versatile masculinity within the transcultural pop production paradigm represented by K-pop idol boy bands.

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Pusan International Film Festival, South Korean Cinema and Globalization, The

SooJeong Ahn

This book is the first book-length study of a non-Western film festival. While studies of film festivals were still relatively uncommon in the 1990s, the new millennium has seen a growing academic interest in these festive events where culture often goes hand in hand with commerce. Recently, a variety of articles, book chapters, monographs and dissertations have been devoted to various aspects of the film festival phenomenon. However, very little primary empirical research has been conducted to date on non-Western film festivals. Therefore, this project is original and timely and will complement existing publications, without duplicating any. This project argues that the initiation, development and growth of the Pusan International Film Festival need to be understood as the result of a productive tension between the demands of the local, the national, and the regional, and the festival’s efforts to serve these different constituencies. The book also reflects the complexities brought about by the rapid transformation of the South Korean film industry which has striven to reach out to the global market since the late 1990s by closely looking at the first international film festival, PIFF in South Korea. As this book focuses upon PIFF’s vital role in linking with its national and regional film industries, it will offer a fresh perspective towards the existing discussions on the “Korean Wave” in the Asian region. Drawing on a wide range of primary materials and exclusive interviews, the book offers a unique and original perspective on the film festival phenomenon that will be of use to scholars of East Asian cinema, transnational media flows, and contemporary Asian culture more broadly.

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Southeast Asian Independent Cinema

Edited by Tilman Baumgärtel

The rise of independent cinema in Southeast Asia, following the emergence of a new generation of filmmakers there, is among the most significant recent developments in global cinema. The advent of affordable and easy access to digital technology has empowered startling new voices from a part of the world rarely heard or seen in international film circles. The appearance of fresh, sharply alternative, and often very personal voices has had a tremendous impact on local film production. This book documents these developments as a genuine outcome of the democratization and liberalization of film production. Contributions from respected scholars, interviews with filmmakers, personal accounts and primary sources by important directors and screenwriters collectively provide readers with a lively account of dynamic film developments in Southeast Asia. Interviewees include Lav Diaz, Amir Muhammad, Apichatpong Weerasethakul, Eric Khoo, Nia Dinata and others.

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Structure, Audience and Soft Power in East Asian Pop Culture

Chua Beng Huat

East Asian pop culture can be seen as an integrated cultural economy emerging from the rise of Japanese and Korean pop culture as an influential force in the distribution and reception networks of Chinese language pop culture embedded in the ethnic Chinese diaspora. Taking Singapore as a locus of pan-Asian Chineseness, Chua Beng Huat provides detailed analysis of the fragmented reception process of transcultural audiences and the processes of audiences’ formation and exercise of consumer power and engagement with national politics. In an era where exercise of military power is increasingly restrained, pop culture has become an important component of soft power diplomacy and transcultural collaborations in a region that is still haunted by colonization and violence. The author notes that the aspirations behind national governments’ efforts to use popular culture is limited by the fragmented nature of audiences who respond differently to the same products; by the danger of backlash from other members of the importing country’s population that do not consume the popular culture products in question; and by the efforts of the primary consuming country, the People’s Republic of China to shape products through co-production strategies and other indirect modes of intervention.

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TV Drama in China

Edited by Ying Zhu ,Michael Keane ,Ruoyun Bai

The book provides an international and cross-cultural perspective with chapters on Taiwanese TV drama in China, the impact of South Korean drama, and trans-border production between the Mainland and Hong Kong.

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