Olivia Khoo
- Published in print:
- 2007
- Published Online:
- September 2011
- ISBN:
- 9789622098794
- eISBN:
- 9789882207516
- Item type:
- chapter
- Publisher:
- Hong Kong University Press
- DOI:
- 10.5790/hongkong/9789622098794.003.0003
- Subject:
- Society and Culture, Asian Studies
This chapter examines how the movements of the fold can be translated and further understood through the movement of Chinese screen actresses, from the Asian film industry into that of the West. It ...
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This chapter examines how the movements of the fold can be translated and further understood through the movement of Chinese screen actresses, from the Asian film industry into that of the West. It focuses on how two popular Hong Kong film stars, Maggie Cheung and Michelle Yeoh, have translated or “crossed over” from Hong Kong cinema into the institutional sites of French art house cinema (Cheung in Olivier Assayas's Irma Vep), and Hollywood (Yeoh in the James Bond film Tomorrow Never Dies). The chapter also explains how the figures of the spy, vamp, and woman warrior, particularly as introduced by Yeoh and Cheung through their cross-over roles, characterize diasporic Chinese femininity.Less
This chapter examines how the movements of the fold can be translated and further understood through the movement of Chinese screen actresses, from the Asian film industry into that of the West. It focuses on how two popular Hong Kong film stars, Maggie Cheung and Michelle Yeoh, have translated or “crossed over” from Hong Kong cinema into the institutional sites of French art house cinema (Cheung in Olivier Assayas's Irma Vep), and Hollywood (Yeoh in the James Bond film Tomorrow Never Dies). The chapter also explains how the figures of the spy, vamp, and woman warrior, particularly as introduced by Yeoh and Cheung through their cross-over roles, characterize diasporic Chinese femininity.
Bill Marshall
- Published in print:
- 2007
- Published Online:
- July 2012
- ISBN:
- 9780719058318
- eISBN:
- 9781781701072
- Item type:
- chapter
- Publisher:
- Manchester University Press
- DOI:
- 10.7228/manchester/9780719058318.003.0021
- Subject:
- Film, Television and Radio, Film
This chapter explores three movies of André Téchiné that are based on families and sexualities. Le Lieu du crime (1986), co-scripted with Pascal Bonitzer and Olivier Assayas, seems to invite a ...
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This chapter explores three movies of André Téchiné that are based on families and sexualities. Le Lieu du crime (1986), co-scripted with Pascal Bonitzer and Olivier Assayas, seems to invite a straightforward Freudian reading, with an ‘incestuous’ or excessively close relationship between mother and son. The second movie, Ma Saison préférée (1993), provided Téchiné with his biggest box-office success. Ma Saison préférée seeks to portray three generations of the same family and is the most Bergmanesque of Téchiné's films, in its emphasis on relationships rather than plot, its extensive use of close-ups and its obsession with time. The third movie, Les Roseaux sauvages (1994), develops the idea of unfinished aspirant by portraying a group of teenagers doing the baccalauréat.Less
This chapter explores three movies of André Téchiné that are based on families and sexualities. Le Lieu du crime (1986), co-scripted with Pascal Bonitzer and Olivier Assayas, seems to invite a straightforward Freudian reading, with an ‘incestuous’ or excessively close relationship between mother and son. The second movie, Ma Saison préférée (1993), provided Téchiné with his biggest box-office success. Ma Saison préférée seeks to portray three generations of the same family and is the most Bergmanesque of Téchiné's films, in its emphasis on relationships rather than plot, its extensive use of close-ups and its obsession with time. The third movie, Les Roseaux sauvages (1994), develops the idea of unfinished aspirant by portraying a group of teenagers doing the baccalauréat.
James Tweedie
- Published in print:
- 2018
- Published Online:
- June 2018
- ISBN:
- 9780190873875
- eISBN:
- 9780190873912
- Item type:
- chapter
- Publisher:
- Oxford University Press
- DOI:
- 10.1093/oso/9780190873875.003.0009
- Subject:
- Literature, Film, Media, and Cultural Studies
This brief conclusion considers a group of films and videos about cinema made in the late twentieth century. Cinema has always been a favorite topic for filmmakers, and that tendency continued at the ...
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This brief conclusion considers a group of films and videos about cinema made in the late twentieth century. Cinema has always been a favorite topic for filmmakers, and that tendency continued at the turn of the millennium. Rather than frame film as a perpetually modern medium, this work views it as an aging, fragile, and exhausted art, though it also considers the history of cinema as a paradoxical source of innovation and renewal. This conclusion surveys key examples of cinema trained on itself and links this reflexive filmmaking to the era’s dominant themes, including belatedness and nostalgia. A final discussion of the Derek Jarman’s Blue highlights the relationship between surface and depth, aesthetics and history explored in this archaeomodern cinema.Less
This brief conclusion considers a group of films and videos about cinema made in the late twentieth century. Cinema has always been a favorite topic for filmmakers, and that tendency continued at the turn of the millennium. Rather than frame film as a perpetually modern medium, this work views it as an aging, fragile, and exhausted art, though it also considers the history of cinema as a paradoxical source of innovation and renewal. This conclusion surveys key examples of cinema trained on itself and links this reflexive filmmaking to the era’s dominant themes, including belatedness and nostalgia. A final discussion of the Derek Jarman’s Blue highlights the relationship between surface and depth, aesthetics and history explored in this archaeomodern cinema.
