The Resource Contemporary Sino-French cinemas. Absent fathers, banned books, and red balloons, Michelle E. Bloom
Contemporary Sino-French cinemas. Absent fathers, banned books, and red balloons, Michelle E. Bloom
Resource Information
The item Contemporary Sino-French cinemas. Absent fathers, banned books, and red balloons, Michelle E. Bloom represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in University of San Diego Libraries.This item is available to borrow from 1 library branch.
Resource Information
The item Contemporary Sino-French cinemas. Absent fathers, banned books, and red balloons, Michelle E. Bloom represents a specific, individual, material embodiment of a distinct intellectual or artistic creation found in University of San Diego Libraries.
This item is available to borrow from 1 library branch.
- Summary
- Transnational cinemas are eclipsing national cinemas in the contemporary world, and Sino-French films exemplify this phenomenon through the cinematic coupling of the Sinophone and the Francophone, linking France not just with the Chinese mainland but also with the rest of the Chinese-speaking world. Sinophone directors most often reach out to French cinema by referencing and adapting it. They set their films in Paris and metropolitan France, cast French actors, and sometimes use French dialogue, even when the directors themselves don't understand it. They tend to view France as mysterious, sexy, and sophisticated, just as the French see China and Taiwan as exotic. As Michelle E. Bloom makes clear, many films move past a simplistic opposition between East and West and beyond Orientalist and Occidentalist cross-cultural interplay. Bloom focuses on films that have appeared since 2000 such as Tsai Ming-liang's What Time Is It There?, Hou Hsiao-hsien's Flight of the Red Balloon, and Dai Sijie's Balzac and the Little Chinese Seamstress. She views the work of these well-known directors through a Sino-French optic, applying the tropes of metissage (or biraciality), intertextuality, adaptation and remake, translation, and imitation to shed new light on their work
- Language
- eng
- Extent
- 1 online resource (296 pages)
- Contents
-
- The Sino-French as metissage : Cheng Yu-Chieh's Yang yang
- Intertextuality as metissage in Tsai Ming-liang's Sino-French films : What time is it there? and Face
- The intertextuality of the remake : Hou Hsiao-hsien's Flight of the red balloon
- The translations of Dai Sijie's Balzac and The little Chinese seamstress
- Imitating Frenchness in Emily Tang Xiaobai's Conjugation and Jia Zhangke's The world
- Isbn
- 9780824857455
- Label
- Contemporary Sino-French cinemas. Absent fathers, banned books, and red balloons
- Title
- Contemporary Sino-French cinemas. Absent fathers, banned books, and red balloons
- Statement of responsibility
- Michelle E. Bloom
- Subject
-
- China
- Coproduction (Motion pictures, television, etc.)
- Coproduction (Motion pictures, television, etc.) -- China
- Coproduction (Motion pictures, television, etc.) -- France
- Coproduction (Motion pictures, television, etc.) -- Taiwan
- Electronic books
- Film
- France
- Frankreich
- HISTORY -- Asia -- General
- History
- Koproduktion
- Motion pictures
- Motion pictures -- China -- History
- Motion pictures -- Taiwan -- History
- SOCIAL SCIENCE -- Anthropology | Cultural
- Taiwan
- Taiwan
- China
- Language
- eng
- Summary
- Transnational cinemas are eclipsing national cinemas in the contemporary world, and Sino-French films exemplify this phenomenon through the cinematic coupling of the Sinophone and the Francophone, linking France not just with the Chinese mainland but also with the rest of the Chinese-speaking world. Sinophone directors most often reach out to French cinema by referencing and adapting it. They set their films in Paris and metropolitan France, cast French actors, and sometimes use French dialogue, even when the directors themselves don't understand it. They tend to view France as mysterious, sexy, and sophisticated, just as the French see China and Taiwan as exotic. As Michelle E. Bloom makes clear, many films move past a simplistic opposition between East and West and beyond Orientalist and Occidentalist cross-cultural interplay. Bloom focuses on films that have appeared since 2000 such as Tsai Ming-liang's What Time Is It There?, Hou Hsiao-hsien's Flight of the Red Balloon, and Dai Sijie's Balzac and the Little Chinese Seamstress. She views the work of these well-known directors through a Sino-French optic, applying the tropes of metissage (or biraciality), intertextuality, adaptation and remake, translation, and imitation to shed new light on their work
- Cataloging source
- N$T
- http://library.link/vocab/creatorName
- Bloom, Michelle E
- Index
- index present
- Literary form
- non fiction
- Nature of contents
-
- dictionaries
- bibliography
- Series statement
- Critical Interventions
- http://library.link/vocab/subjectName
-
- Motion pictures
- Motion pictures
- Coproduction (Motion pictures, television, etc.)
- Coproduction (Motion pictures, television, etc.)
- Coproduction (Motion pictures, television, etc.)
- HISTORY
- SOCIAL SCIENCE
- Coproduction (Motion pictures, television, etc.)
- Motion pictures
- China
- France
- Taiwan
- Film
- Koproduktion
- China
- Frankreich
- Taiwan
- Label
- Contemporary Sino-French cinemas. Absent fathers, banned books, and red balloons, Michelle E. Bloom
- Antecedent source
- unknown
- Bibliography note
- Includes bibliographical references (pages 241-258) and index
- Carrier category
- online resource
- Carrier category code
-
- cr
- Carrier MARC source
- rdacarrier
- Color
- multicolored
- Content category
- text
- Content type code
-
- txt
- Content type MARC source
- rdacontent
- Contents
- The Sino-French as metissage : Cheng Yu-Chieh's Yang yang -- Intertextuality as metissage in Tsai Ming-liang's Sino-French films : What time is it there? and Face -- The intertextuality of the remake : Hou Hsiao-hsien's Flight of the red balloon -- The translations of Dai Sijie's Balzac and The little Chinese seamstress -- Imitating Frenchness in Emily Tang Xiaobai's Conjugation and Jia Zhangke's The world
- Control code
- ocn936462990
- Dimensions
- unknown
- Extent
- 1 online resource (296 pages)
- File format
- unknown
- Form of item
- online
- Isbn
- 9780824857455
- Level of compression
- unknown
- Media category
- computer
- Media MARC source
- rdamedia
- Media type code
-
- c
- Note
- JSTOR
- http://library.link/vocab/ext/overdrive/overdriveId
- 22573/ctt19p1hdv
- Quality assurance targets
- not applicable
- Reformatting quality
- unknown
- Sound
- unknown sound
- Specific material designation
- remote
- System control number
- (OCoLC)936462990
- Label
- Contemporary Sino-French cinemas. Absent fathers, banned books, and red balloons, Michelle E. Bloom
- Antecedent source
- unknown
- Bibliography note
- Includes bibliographical references (pages 241-258) and index
- Carrier category
- online resource
- Carrier category code
-
- cr
- Carrier MARC source
- rdacarrier
- Color
- multicolored
- Content category
- text
- Content type code
-
- txt
- Content type MARC source
- rdacontent
- Contents
- The Sino-French as metissage : Cheng Yu-Chieh's Yang yang -- Intertextuality as metissage in Tsai Ming-liang's Sino-French films : What time is it there? and Face -- The intertextuality of the remake : Hou Hsiao-hsien's Flight of the red balloon -- The translations of Dai Sijie's Balzac and The little Chinese seamstress -- Imitating Frenchness in Emily Tang Xiaobai's Conjugation and Jia Zhangke's The world
- Control code
- ocn936462990
- Dimensions
- unknown
- Extent
- 1 online resource (296 pages)
- File format
- unknown
- Form of item
- online
- Isbn
- 9780824857455
- Level of compression
- unknown
- Media category
- computer
- Media MARC source
- rdamedia
- Media type code
-
- c
- Note
- JSTOR
- http://library.link/vocab/ext/overdrive/overdriveId
- 22573/ctt19p1hdv
- Quality assurance targets
- not applicable
- Reformatting quality
- unknown
- Sound
- unknown sound
- Specific material designation
- remote
- System control number
- (OCoLC)936462990
Subject
- China
- Coproduction (Motion pictures, television, etc.)
- Coproduction (Motion pictures, television, etc.) -- China
- Coproduction (Motion pictures, television, etc.) -- France
- Coproduction (Motion pictures, television, etc.) -- Taiwan
- Electronic books
- Film
- France
- Frankreich
- HISTORY -- Asia -- General
- History
- Koproduktion
- Motion pictures
- Motion pictures -- China -- History
- Motion pictures -- Taiwan -- History
- SOCIAL SCIENCE -- Anthropology | Cultural
- Taiwan
- Taiwan
- China
Genre
Member of
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<div class="citation" vocab="http://schema.org/"><i class="fa fa-external-link-square fa-fw"></i> Data from <span resource="http://link.sandiego.edu/portal/Contemporary-Sino-French-cinemas.-Absent-fathers/y854OBJnlsc/" typeof="Book http://bibfra.me/vocab/lite/Item"><span property="name http://bibfra.me/vocab/lite/label"><a href="http://link.sandiego.edu/portal/Contemporary-Sino-French-cinemas.-Absent-fathers/y854OBJnlsc/">Contemporary Sino-French cinemas. Absent fathers, banned books, and red balloons, Michelle E. Bloom</a></span> - <span property="potentialAction" typeOf="OrganizeAction"><span property="agent" typeof="LibrarySystem http://library.link/vocab/LibrarySystem" resource="http://link.sandiego.edu/"><span property="name http://bibfra.me/vocab/lite/label"><a property="url" href="http://link.sandiego.edu/">University of San Diego Libraries</a></span></span></span></span></div>
