East Asian Cinemas: Regional Flows and Global by Vivian P.Y. Lee

By Vivian P.Y. Lee

This booklet is an unique quantity of essays that sheds new and important mild on present and rising filmmaking traits and practices in China, Taiwan, Hong Kong, Japan and South Korea. A well timed and critical contribution to latest scholarship within the box.

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Extra resources for East Asian Cinemas: Regional Flows and Global Transformations

Sample text

However, as the example of Scorsese in the introduction of this chapter demonstrates, it is no longer the East that is forever emulating its “superior” Western counterpart under a developmentalist logic of modernity; rather, the veteran Hollywood director may have a thing or two to learn from the Hong Kong upstarts, as the West increasingly looks to the East for inspiration to reinvigorate its flagging creative imagination. On the other hand, the commissioning of two Taiwan directors by Parisian museums in their inaugural filmmaking projects can be better appreciated as a kind of cinephilia that acknowledges and pays homage to each other’s cinematic achievements.

If Hollywood remakes circumvent the linguistic issue by turning East Asian films into American products, intra-Asian collaboration in generic films often cannot escape the thorny issue of linguistic translatability. The expectation of linguistic authenticity among East Asian audiences is usually so high that any hint of linguistic impurity is deeply frowned upon. One of the reasons for the less-than-enthusiastic reception of Crouching Tiger, Hidden Dragon among Chinese-speaking audiences was the jarring Mandarin accents on the soundtrack, which range from what is regarded as standard Beijing to Cantonese, spoken by the main cast, who variously hail from China (Zhang Ziyi), Taiwan (Chang Chen), Hong Kong (Chow Yun-fat), and Malaysia (Michelle Yeoh).

Soon after the announcement of the “New International Economic Order” by the UN, UNESCO proposed the Hong Yin and Zhiwei Xiao 37 “New World Information and Communications Order” in 1974. These initiatives reflected a general desire for the establishment of a new international information and communication order of exchange in which developed and developing nations and regions East and West can participate as equals. At the same time, the challenge posed by American cultural supremacy, capitalist consumerism and global modernity to national and cultural identity and traditional value systems continued to provoke new debates and criticisms.

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