File Name: postsocialist modernity chinese cinema literature and criticism in the market age .zip
The globalization and digitalization of cultural markets presents formidable challenges for local cinema and storytelling. The essays in this collection address some of these challenges from the perspective of a critical political economy of local cinema.
Metacinema in Contemporary Chinese Film
During the Mao years, laughter in China was serious business. Simultaneously an outlet for frustrations and grievances, a vehicle for socialist education, and an object of official study, laughter brought together the political, the personal, the aesthetic, the ethical, the affective, the physical, the aural, and the visual. The ten essays in Maoist Laughter convincingly demonstrate that the connection between laughter and political culture was far more complex than conventional conceptions of communist indoctrination can explain. In exploring this phenomenon, Maoist Laughter is a significant correction to conventional depictions of socialist China. One of its main strengths lies in the sheer number of genres covered, including dance, traditional Chinese performance, visual arts, film, and literature. The focus on humor in the Maoist period gives an exciting new perspective from which to understand cultural production in twentieth-century China. The chapters show that traditional culture could almost blend perfectly with revolutionary mission.
Stanford University Press As China emerged from the shadows of the Cultural Revolution — , the socialist ideals of yesterday seemed to creep into the distance as the nation ventured into a new era dominated by key words such as "reform," "the open door," and "the four modernizations. The tensions between new cultural, economic, and larger societal trends and the historic mission of the Chinese Communist Party called for a new terminology that could help reconcile the internal contradictions at play. Deng Xiaoping's new pragmatic vision was termed "socialism with Chinese characteristics," a moniker that has lingered for the past thirty years and become code for the mutant political and economic system that has overseen one of the most incredible capitalist transformations in human history. With an emphasis on the s and s, McGrath's insightful study engages not just film, but also television, literature, cultural criticism, and even contemporary art. While each chapter focuses on a separate medium, there is a complementary thematic arc that ties them all together, and collectively the book offers a wide-ranging yet cohesive overview of several of the most fascinating cultural events in contemporary China.
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E nthusiasts for Chinese postmodernism are nowadays put on the defensive by those who dismiss the issue as a Chinese problematic, or resist postmodernism in general. Nor has it been hard to describe radical paradigmatic shifts and profound socio-cultural ruptures in the past two decades, as sweeping changes in post-Mao China are virtually the norm. The conceptual separation between the two interrelated and sometimes confused categories may highlight the gap between an international cultural and discursive fashion and the Chinese reality; it can also reveal the theoretical hinge between a nameless reality and the system of naming which connects uneven and often discontinuous historical times and spaces. The discourse, in this sense, is a continuation of the modernist trend in the s. Its currency in the s indicates the rapid growth of a consumer-oriented economy and the relentless process of globalization. Its content, however, is strictly foreign and technical, corresponding to the gleaming enclaves of international economic and cultural capital amidst the extremely uneven Chinese reality.
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In his new book, Postsocialist Modernity: Chinese Cinema, Literature, and Criticism in the Market Age , Jason McGrath draws on a breadth of cleverly selected sources to examine how Chinese society and culture have been transformed in the era of marketization. He defines this phase as the "postsocialist period. The author suggests that since , the cultural life of China started to enter a period of postmodernity. Life in China has swung away from the expectations of modernity associated with the Maoist revolution. In his first chapter, McGrath argues that the impact of marketization not only affects Chinese society and culture, but also it is an inseparable part of the globalization in "postsocialist modernity" p.
The Formation of Chinese Art Cinema
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Жертва ощутила прикосновение смерти, и началась совершенно иная игра. Беккер мчался, не видя ничего вокруг, постоянно сворачивал, избегая прямых участков. Шаги неумолимо приближались. В голове у него не было ни единой мысли - полная пустота. Он не знал ни где он находится, ни кто его преследует и мчался, подгоняемый инстинктом самосохранения. Он не чувствовал никакой боли - один лишь страх.
А связаться с ними пробовала. - Пустой номер. Наверное, уплыли на уик-энд с друзьями на яхте. Беккер заметил, что на ней дорогие вещи. - И у тебя нет кредитной карточки. - Есть, но отец ее заблокировал.
В ее трахнутый Коннектикут. - Двухцветный снова хмыкнул. - Эдди места себе не находит. - В Коннектикут. - Я же сказал. Возвращается домой, к мамочке и папочке, в свой пригород.