‘Reading’ the Cinema of Zhang Yimou: Between the Chinese and the Global

Armida de la Garza

Resumo


How are national identities transformed? If they are mostly narratives of belonging to a community of history and destiny to which people subscribe, those boundarymaking procedures that constitute the political field by instituting difference can provide a tentative answer to this question. This paper is concerned with one such cultural practice, namely film viewing. Globalisation, a boundary-blurring practice, has been the backdrop against which transformations in national identity are often discussed, either bemoaned as cultural imperialism or celebrated as ongoing hybridisation. This piece of research took Zhang Yimou’s controversial film “Hero” as a point of departure, and asked groups of Chinese audiences how they understood the Chinese identity it conveys. Although it is still a work in progress, provisional results are reported below.

Palavras-chave


popular music; music genres; sound; analysis

Texto completo:

PDF

Referências


ANDERSON, B. Imagined Communities. London: Verso, 1991.

BARMÉ, G. To Screw Foreigners is Patriotic: China’s Avant-Garde Nationalists. In. UNGER, J. (ed). Chinese Nationalism. New York: M. E. Sharpe, 1996. p. 183 208.

BAUMAN, Z. “The Making and Unmaking of Strangers” in Werbner, P. and Modood, T. (eds), Debating Cultural Hybridity. London: Zed Books, 1997.

BERRY, C. “From National Cinema to Cinema and the National: Chinese Language Cinema and Hou Hsiao-Hsien’s ‘Taiwan Trilogy’” in Vitali, V. and Willemen, P. (eds) Theorising National Cinema. London: British Film Institute, 2006, p. 148-157.

BERRY, C.; FARQUHAR, M. China on Screen: cinema and nation. New York: Columbia University Press, 2006.

CASTELLANOS, A. México y Brasil, entre los que más inversión extranjera directa reciben: ONU. La Jornada, 30 September, 2005.

CORNELIUS, S. New Chinese Cinema: Challenging Representations. Wallflower, 2002.

CRANE, G. T. Special Things in Special Ways: National Economic Identity and China’s Special Economic Zones. In. UNGER, J. (ed). Chinese Nationalism. New York: M. E. Sharpe, 1996, p. 148-168.

CURTIN, M. The Future of Chinese Cinema. In. LEE, C. (ed). Chinese Media, Global Contexts. London: Routledge Curzon, 2003, p. 237-256.

DELEUZE, G. The Logic of Sense. New York: Columbia University Press, 1990.

FOUCAULT, M. Nietzche, Genealogy, History. In. RRABINOW, P. (ed). The Foucault Reader. London: Penguin, 1991, p. 76-100.

GAINES, J. M. Dream/Factory. In. GledhILL, C.; WILLIASMS, L. (eds). Reinventing Film Studies. London: Arnold, 2000.

GATEWARD, F. (ed). Zhang Yimou Interviews. Mississippi: University Press of Mississippi, 2001.

GELLNER, E. Nations and Nationalism. Oxford: Blackwell, 1983.

GRANTHAM, B. Some Big Bourgeois Brother: contexts for France’s Cultural Wars with Hollywood. Luton: University of Luton Press, 2000.

GRIES, P. H. China’s New Nationalism: Pride, Politics and Diplomacy. Berkely and Los Angeles: University of California Press, 2004.

HALL, S. Encoding/Decoding. In. HALL, S. et al. (eds). Culture, Media, Language. London: Routledge, 1991, p. 128-138.

HANNERZ, U. Cultural Complexity: studies in the Social Organisation of Meaning. New York, Chichester: Columbia University Press, 1992.

HANSEN, M. Chameleon and Catalyst: the cinema as an alternative public sphere. In. TURNER, G. (ed). The Film Cultures Reader. London: Routledge, 2002, p. 390-419

HARBORD, J. Film Cultures. London: Sage, 2002.

HOBSBAWM, E. J. Nations and Nationalism Since 1780. Cambridge: Cambridge University Press, 1991.

HSIAO-PENG LU, S. National Cinema, Cultural Critique, Transnational Capital. The Films of

Zhang Yimou. In. Traditional Chinese Cinemas. Honolulu: University of Hawaii Press, 1997, p. 104-156.

KRAICER, S. Absence as Spectacle: Zhang Yimou’s Hero. Cinema Scope Magazine, v. 5, n. 1, 2003.

LEE, C. (ed). The Global and the National of the Chinese Media: discourses, market, technology and ideology. In. Chinese Media, Global Contexts. London: Routledge Curzon, 2003, p. 1-31.

LEVINSON, M. It’s an MTV World. Newsweek, 24 April, 1995.

LU, S. H. (ed) Transnational Chinese Cinemas: identity, nationhood, gender. Honloulou: University of Hawaii Press, 1997.

MACBRIDE, S.; Roach, C. The New International Information Order. In. BARNOUW, E. (ed). International Encyclopaedia of Communications. Oxford: Oxford University Press, 1989.

POLUMBAUM, J. Capturing the Flame. In. LEE, C. (ed). Chinese Media, Global Contexts. London: Routledge Curzon, 2003, p. 57-75.

PYE, L. W. How China’s Nationalism was Shanghaied. In. UNGER, J. (ed). Chinese Nationalism. New York: M. E. Sharpe, 1996, p. 86-112.

ROSEN, S. Chinese Media and Youth: attitudes toward nationalism and internationalism. In. LEE, C. (ed). Chinese Media, Global Contexts. London: Routledge Curzon, 2002, p. 97-118.

SCHILLER, H. Mass Communications and American Empire. Boulder, West View Press, 1992.

SHOHAT, E.; STAM, R. Unthinking Eurocentrism: multiculturalism and the media. London: Routledge, 1994.

SILBERGELD, J. Hitchcock with a Chinese Face: cinematic doubles, oedipal triangles and China’s moral voice. Seattle and London: University of Washington Press, 2004.

SINCLAIR, J. et al. (eds). Peripheral Vision. In. New Patterns in Global Television: Peripheral Vision. Oxford: Oxford University Press, 1996.

SMITH, A. D. National Identity. London: Penguin, 1991.

SMITH, A. D. Myths and Memories of the Nation. Oxford: Oxford University Press, 1999.

UNGER, J. (ed). Introduction. In. Chinese Nationalism. New York: M. E. Sharpe, xi-xviii, 1996.

ZHANG, J. Hero. Film Quarterly, v. 58, n. 4, University of California, 2005, p. 47-52.

ZHANG, Y. Chinese National Cinema. Oxford: Routledge, 2004.

ZHAO, Y. Enter the World’ Neo-liberal globalisation, the dream for a strong nation, and Chinese Press discourses on the WTO. In. LEE, C. (ed). Chinese Media, Global Contexts. London: Routledge Curzon, 2003, p. 32-56.


Apontamentos

  • Não há apontamentos.


Licença Creative Commons
Esta obra está licenciada sob uma licença Creative Commons Atribuição - Não comercial - Sem derivações 4.0 Internacional.

Creative Commons License

A Revista Ícone está sob uma Licença Creative Commons Atribuição-NãoComercial CC BY-NC 4.0.

Classificação de Periódicos 2013-2016, CAPES: B4 (Comunicação e Informação)

ISSN 2175-215X

© 1996-2018 Revista Ícone
Programa de Pós-Graduação em Comunicação, UFPE
Av. da Arquitetura, s/n – Cidade Universitária
CEP 50.740-550 Recife (PE), Brasil