Cinema and desire : feminist Marxism and cultural politics in the work of Dai Jinhua
著者
書誌事項
Cinema and desire : feminist Marxism and cultural politics in the work of Dai Jinhua
Verso, 2002
- : pbk
大学図書館所蔵 全5件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
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  埼玉
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  東京
  神奈川
  新潟
  富山
  石川
  福井
  山梨
  長野
  岐阜
  静岡
  愛知
  三重
  滋賀
  京都
  大阪
  兵庫
  奈良
  和歌山
  鳥取
  島根
  岡山
  広島
  山口
  徳島
  香川
  愛媛
  高知
  福岡
  佐賀
  長崎
  熊本
  大分
  宮崎
  鹿児島
  沖縄
  韓国
  中国
  タイ
  イギリス
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注記
Includes bibliographical references (p. [266]-274) and index
Articles translated from the Chinese
内容説明・目次
- 巻冊次
-
: pbk ISBN 9781859842645
内容説明
Dai Jinhua is one of contemporary China's most influential theoreticians and cultural critics. A feminist Marxist, her literary, film and TV commentary has, over the last decade, addressed an expanding audience in China, Taiwan and Hong Kong.
Cinema and Desire presents Dai Jinhau's best work to date. In it she examines the Orientalism that made Zhang Yimou the darling of international film festivals, establishes Huang Shuqin's Human, Woman, Demon as the People's Republic's first genuinely feminist film, comments on TV representations of the Chinese diaspora in New York, speculates on the value of Mao Zedong as an icon of post-revolutionary consumerism, and analyses the rise of shopping plazas in 1990s' urban China as a strange montage in which the political memories of Tiananmen Square and the logic of the global capitalist marketplace are intertwined.
- 巻冊次
-
ISBN 9781859847435
内容説明
Dai Jinhua is one of contemporary China's most influential theoreticians and cultural critics. A feminist Marxist, her literary, film, and TV commentary has, over the last decade, addressed an expanding audience in China, Taiwan and Hong Kong.
Cinema and Desire presents Dai Jinhua's best work to date. In these pages she examines the Orientalism that made Zhang Yimou the darling of international film festivals, lays bare Euro-American fantasies about the Sixth Generation of Chinese cinema auteurs, establishes Huang Shuqin's Human, Woman, Demon as the People's Republic's first genuinely feminist film, comments on TV representations of the Chinese Diaspora in New York, speculates on the value of Mao Zedong as an icon of post-revolutionary consumerism, and analyzes the rise of shopping plazas in 1990s' urban China as a strange montage in which the political memories of Tiananmen Square and the logic of the global capitalist marketplace are intricately intertwined.
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