This work is the first of a series of books principally dedicated to the publication of papers from seminars organized, either solely by the MAISON DES SCIENCES DE L'HOMME DU PACIFIQUE, or in partnership with other institutions. Upon the arrival in the nineteenth century, almost all of the first emigrants from Guangdong in French Oceania settled and developed family lines. Their descendants do not have same sort fo connections today that their ancestors did, with a China that was then led by the Qing dynasty or Sun Yat-Seng. Is the present generation still to be considered as part of the traditional network of diasporic relations, in the same way as those living in other regions of the world? Sponsored by the Pacific Human Sciences Centre (Maison des Sciences de l'Homme du Pacifique), this book examines this question from a previously unexplored angle, through films and contemporary art of the Chinese diaspora. Beyond a meeting between East and West, midway between what philosopher and sinologist François Jullien called "easy universalism" and "lazy relativism", this book does not question conventional cultural differences. Instead, it explores the play of fertile tensions used for creative and aesthetic representation, by communities that are both separated from and close to a various resources. This book brings together contributions from specialists in visual arts and film, including fiction and non-fiction Chinese-language film professionals.

This book explores how memories are used to re-establish a sense of belonging, analyzing the relationships between migrants' adjustment, assimilation and re-membering home. It considers memories as social expressions as well as the tensions and conflicts in representing and renegotiating memories in literature and cinema.

Acknowledging the significance of Edward Said’s Orientalism for contemporary discourse, the contributors to this volume deconstruct, rearrange, and challenge elements of his thesis, looking at the new conditions and opportunities offered by globalization. What can a renewed or reconceptualized Orientalism teach us about the force and limits of our racial imaginary, specifically in relation to various national contexts? In what ways, for example, considering our greater cross-cultural interaction, have clichés and stereotypes undergone a metamorphosis in contemporary societies and cultures? Theoretically, and empirically, this book offers an expansive range of contexts, comprising the insights, analytical positions, and perspectives of a transnational team of scholars of comparative literature and literary and cultural studies based in Australia, Hong Kong, Japan, Malaysia, USA, Singapore, Taiwan, and Turkey. Working with, through and beyond Orientalism, they examine a variety of cultural texts, including the novel, short story, poetry, film, graphic memoir, social thought, and life writing. Making connections across centuries and continents, they articulate cultural representation and discourse through multiple approaches including critical content analysis, historical contextualization, postcolonial theory, gender theory, performativity, intertextuality, and intersectionality. Given its unique approach, this book will be essential reading for scholars of literary theory, film studies and Asian studies, as well as for those with a general interest in postcolonial literature and film.

The global film industry has witnessed significant transformations in the past few years. Regions outside the USA have begun to prosper while non-traditional production companies such as Netflix have assumed a larger market share and online movies adapted from literature have continued to gain in popularity. How have these trends shaped the global film industry? This book answers this question by analyzing an increasingly globalized business through a global lens. Development of the Global Film Industry examines the recent history and current state of the business in all parts of the world. While many existing studies focus on the internal workings of the industry, such as production, distribution and screening, this study takes a "big picture" view, encompassing the transnational integration of the cultural and entertainment industry as a whole, and pays more attention to the coordinated development of the film industry in the light of influence from literature, television, animation, games and other sectors. This volume is a critical reference for students, scholars and the public to help them understand the major trends facing the global film industry in today’s world.

This book reviews the development and performance of the global film industry during the COVID-19 pandemic and examines new trends in film production, distribution and consumption through a global lens. The COVID-19 pandemic has had a substantial impact on the global film industry since the beginning of 2020. There has been significant transformation in terms of film production, distribution and consumption. Hollywood, like many national cinemas across the globe, has suffered the most significant impact at all levels: the interruption of new film productions, shutdowns of movie theatres in many countries and delays in the release of new films, among them. Many movies made for cinemas were forced to move from release in theatres to various streaming platforms, and nontraditional production companies continued to grow their market share. This book places the global film industry in a post-Pandemic context. It provides detailed analyses of specific systems of film production, distribution and consumption in national cinemas, as well as in Hollywood, while also engaging with the key theoretical and methodological questions from the film studies literature. This volume is a critical reference for students and scholars of film studies and general readers who are interested in the new trends and transformation of the global film industry in a post-pandemic era. The Open Access version of this book, available at http://www.taylorfrancis.com, has been made available under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.

With 25 essays that embrace a wide spectrum of topics and perspectives including intertextuality, transnationality, gender representation, repetition, the use of music, color, and sound, depiction of time and space in human affairs, and Wong’s highly original portrayal of violence, A Companion to Wong Kar-Wai is a singular examination of the prestigious filmmaker known around the world for the innovation, beauty, and passion he brings to filmmaking. Brings together the most cutting edge, in-depth, and interesting scholarship on arguably the greatest living Asian filmmaker, from a multinational group of established and rising film scholars and critics Covers a huge breadth of topics such as the tradition of the jianghu in Wong's films; queering Wong's films not in terms of gender but through the artist's liminality; the phenomenological Wong; Wong's intertextuality; America through Wong's eyes; the optics of intensities, thresholds, and transfers of energy in Wong's cinema; and the diasporic presence of some ladies from Shanghai in Wong's Hong Kong Examines the political, historical, and sociological influence of Wong and his work, and discusses his work from a variety of perspectives including modern, post-modern, postcolonial, and queer theory Includes two appendices which examine Wong’s work in Hong Kong television and commercials