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This groundbreaking collection focuses on what may be, for cultural studies, the most intriguing aspect of contemporary globalization--the ways in which the postnational restructuring of the world in an era of transnational capitalism has altered how we must think about cultural production. Mapping a "new world space" that is simultaneously more globalized and localized than before, these essays examine the dynamic between the movement of capital, images, and technologies without regard to national borders and the tendency toward fragmentation of the world into increasingly contentious enclaves of difference, ethnicity, and resistance. Ranging across issues involving film, literature, and theory, as well as history, politics, economics, sociology, and anthropology, these deeply interdisciplinary essays explore the interwoven forces of globalism and localism in a variety of cultural settings, with a particular emphasis on the Asia-Pacific region. Powerful readings of the new image culture, transnational film genre, and the politics of spectacle are offered as is a critique of globalization as the latest guise of colonization. Articles that unravel the complex links between the global and local in terms of the unfolding narrative of capital are joined by work that illuminates phenomena as diverse as "yellow cab" interracial sex in Japan, machinic desire in Robocop movies, and the Pacific Rim city. An interview with Fredric Jameson by Paik Nak-Chung on globalization and Pacific Rim responses is also featured, as is a critical afterword by Paul Bov. Positioned at the crossroads of an altered global terrain, this volume, the first of its kind, analyzes the evolving transnational imaginary--the full scope of contemporary cultural production by which national identities of political allegiance and economic regulation are being undone, and in which imagined communities are being reshaped at both the global and local levels of everyday existence.
This unique collection of translations of Chinese stories explores the manifestations of "self" and the impact of place upon Chinese identity, found both on the mainland and in other Chinese communities such as Taiwan, Hong Kong, and Singapore. Though sharing a common cultural heritage, these four communities have different social, political, and economic realities; realities which are reflected in the stories' themes of self, identity, gender, and location. The stories not only demonstrate the diverse creativity of contemporary Chinese authors, they also express the aspirations and fears felt by many who live in places and circumstances where the mass media are controlled by the state and opportunities for open discussion are few and far between. Translated into English for the first time, the stories in A Place of One's Own demonstrate the exciting experimentation unfolding in the genre of the modern Chinese short story. Individually, the stories stand as important contributions to contemporary Chinese literature in translation; collectively as a comprehensive rendering of the transformation of Chinese society today.
'Ashes of Time,' by the internationally acclaimed director Wong Kar-wai, has been considered to be one of the most complex and self-reflexive of Hong Kong films. Loosely based on the stories by renowned martial arts novelist Jin Yong, Wong Kar-wai has created a very different kind of martial arts film, which invites close and sustained study.This book presents the nature and significance of Ashes of Time, and the reasons for its being regarded as a landmark in Hong Kong cinema. Placing the film in historical and cultural context, Dissanayake discusses its vision, imagery, visual style, and narrative structure. In particular, he focuses on the themes of mourning, confession, fantasy, and kung fu movies, which enable the reader to gain a deeper and more comprehensive understanding of the film.