Exploiting East Asian cinemas : genre, circulation, reception
著者
書誌事項
Exploiting East Asian cinemas : genre, circulation, reception
(Global exploitation cinemas)
Bloomsbury Academic, 2018
大学図書館所蔵 全2件
  青森
  岩手
  宮城
  秋田
  山形
  福島
  茨城
  栃木
  群馬
  埼玉
  千葉
  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
  ドイツ
  スイス
  フランス
  ベルギー
  オランダ
  スウェーデン
  ノルウェー
  アメリカ
注記
Includes bibliographical references (p. [207]-217) and index
内容説明・目次
内容説明
From the 1970s onward, "exploitation cinema" as a concept has circulated inside and outside of East Asian nations and cultures in terms of aesthetics and marketing. However, crucial questions about how global networks of production and circulation alter the identity of an East Asian film as "mainstream" or as "exploitation" have yet to be addressed in a comprehensive way. Exploiting East Asian Cinemas serves as the first authoritative guide to the various ways in which contemporary cinema from and about East Asia has trafficked across the somewhat-elusive line between mainstream and exploitation.
Focusing on networks of circulation, distribution, and reception, this collection treats the exploitation cinemas of East Asia as mobile texts produced, consumed, and in many ways re-appropriated across national (and hemispheric) boundaries. As the processes of globalization have decoupled products from their nations of origin, transnational taste cultures have declared certain works as "art" or "trash," regardless of how those works are received within their native locales. By charting the routes of circulation of notable films from Japan, China, and South Korea, this anthology contributes to transnationally-accepted formulations of what constitutes "East Asian exploitation cinema."
目次
Illustrations
Acknowledgments
Foreword Julian Stringer (University of Nottingham, UK)
Notes on Text
Editors' IntroductionKen Provencher (Josai International University, Japan) and Mike Dillon (California State University at Fullerton, USA)
Part I: Genres Without Borders
1. Steampunked Kung Fu: Technologized Modernity in Stephen Fung's Tai Chi Films Kenneth Chan (University of Northern Colorado, USA)
2. Oru kaiju dai shingeki (All monsters attack!): The regional and transnational exploitation of the kaiju eiga Steven Rawle (York St. John University, UK)
3. Blood and Blades: Transnational Heroic Violence in Twilight Samurai and The Last Samurai Ken Provencher (Josai International University, Japan)
Part II: The Exploitation Marketplace
4. Dragons, Ninjas, and Kickboxers: The Minor Transnational Action Films of IFD Man-Fung Yip (University of Oklahoma, USA)
5. Asia Restrained: J-Horror's Poor Beginnings and the Mismarketing of Excess Tom Mes (The Midnight Eye)
6. Gifting Beauty: The Exploitations of Fan Bingbing Mila Zuo (Oregon State University, USA)
Part III: Exploitation, Art, and Politics
7. Kitano's Outrageous Exploitation Cinema: Yakuza Nobility and the Biopolitics of Crime Elena del Rio (University of Alberta, Canada)
8. A Cinematic Half-Twist: Art, Exploitation, and the Subversion of Sexual Norms in Kim Ki-duk's Moebius Hye Seung Chung and David Scott Diffrient (Colorado State University, USA)
9. Hara Kazuo and Extreme Private Eros: Love Song 1974 (1974) Jun Okada (State University of New York at Geneseo, USA)
10. Don't Bother to Dispatch the FBI: Representations of Serial Killers in New Korean Cinema Kyu Hyun Kim (University of California Davis, USA)
Select Bibliography
Notes on Contributors
Index
「Nielsen BookData」 より