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mei
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Journal Article
Camera Obscura (1988) 6 (3 (18)): 32–41.
Published: 01 September 1988
... Copyright © 1988 by The Johns Hopkins University Press 1988 Interview with Hu Mei
Hu Mei was born in Beijing in 1956. Her father was a musician, and
many other members of her family were involved in the arts. Mer
performing with the People's Liberation Army Song and Dance Troupe...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 149–183.
Published: 01 December 2014
...Juliana Chang This essay explicates how Mei Li (Miyoshi Umeki) and Linda Low (Nancy Kwan), the Asian migrant and Asian American female leading characters in the film Flower Drum Song (dir. Henry Koster, US, 1961), oscillate between embodying the fantasies of American modernity and exposing...
Journal Article
Camera Obscura (2019) 34 (2): 41–69.
Published: 01 September 2019
...Feng-Mei Heberer This article explores the possibilities for activist intervention through documentary media at a time when rhetorics of rights and recognition are increasingly appropriated into nationalist state projects, capitalist expansion, and a Northern hemispheric vision of the “good world...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 4–7.
Published: 01 September 1988
...Chris Berry Copyright © 1988 by The Johns Hopkins University Press 1988 ON CONTEMPORARY CHINA
Army Nurse (Hu Mei, 1986)
Chinese "Women's Cinema": Introduction
Chris Berry
"Women's cinema" was a term I first...
Journal Article
Camera Obscura (2014) 29 (1 (85)): 33–57.
Published: 01 May 2014
... be described as a form of minor transnationalism.
Françoise Lionnet and Shu-mei Shih describe minor trans-
nationalism as a specific intervention into dominant conceptions
of transnationalism “from above.” They write: “Major discussions of
transnationalism and globalization assume that ethnic...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 193–231.
Published: 01 December 2005
... is practiced. Within the narrative, Wu’s hybrid and anar-
chic body is actually produced through discipline by the march-
ing rituals through which she earns a martial arts costume.
A similar dynamics also occurs in a Lianhua studio pro-
duction, A Spray of Plum Blossoms (Yi jian mei, dir. Bu Wancang...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 8–19.
Published: 01 September 1988
...
of films directed by women, and also mark a direction in Chinese
filmmaking thatseemsto me both sociallyand cinematicallysignificant.
The three films are Sacrificed Youth, directed by Zhang Nuanxin in
1985; Army Nurse, directed by Hu Mei in early 1986; and The Season
for Love, directed in late 1986...
Journal Article
Camera Obscura (1988) 6 (3 (18)): 26–31.
Published: 01 September 1988
... Copyright © 1988 by The Johns Hopkins University Press 1988 Interview with Peng Xiaolian
Peng Xiaolian was born in Shanghai in 1953, and spent nine years
laboring in the countryside during the "cultural revolution." Like Hu
Mei, she entered the Directing Departmentof the BeijingFilm...
Journal Article
Camera Obscura (2014) 29 (3 (87)): 1–31.
Published: 01 December 2014
... of a number of
contemporary Chinese-language films that invoke the past by way
of sonic reference. The film is about a nameless man and woman
living in present-day Taipei, played by Lee Kang-sheng and Yang
Kuei-mei, respectively, who are drawn into a series of encounters
when a hole appears...
Journal Article
Camera Obscura (2019) 34 (3): 1–29.
Published: 01 December 2019
..., the scene unambig- uously drives home the idea that Han culture and the Cultural Revolution have repressed human nature and desires.13 The lit- eral wording of Li s memory about the beauty standard in socialist China, (bumei jiushi mei, Not being pretty is pretty seems to echo the general intellectual...
Journal Article
Camera Obscura (2009) 24 (3 (72)): 111–151.
Published: 01 December 2009
... by the spread of global capital, the
extent and reach of communications technologies and media, and
the elite and labored forms of migration and cultural hybridity
that result from these forces.20 Writing on the relation between
the global and the transnational, Françoise Lionnet and Shu-mei
Shih...
Journal Article
Camera Obscura (1993) 11 (2 (32)): 75–101.
Published: 01 September 1993
.../Mei Yanfang) to do when
Chan Chun-bong/Chen Zhenbang (Leslie Cheung Gwok-wing/Zhang
Guorong), the twelfth master of a wealthy merchant family, fails to
fulfill his Oedipal destiny? What can she do when he fails to appear
on the scene to claim her after their agreement...
Journal Article
Camera Obscura (2021) 36 (2 (107)): 33–63.
Published: 01 September 2021
... also Bliss Cua Lim, “A Pan-Asian Cinema of Allusion: Going Home and Dumplings,” in A Companion to Hong Kong Cinema , ed. Esther M. K. Cheung, Gina Marchetti, and Ching-Mei Esther Yau (Chichester, UK: Wiley-Blackwell, 2015), 410–40. 64. Chi Yun Shin, “The Art of Branding: Tartan ‘Asia Extreme...
FIGURES
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Journal Article
Camera Obscura (1985) 5 (1-2 (13-14)): 50–83.
Published: 01 September 1985
... attracted to a calligraphic tradition of drawing as
writing and rewriting, and to a highly codified kind of theater that is a
language in itself. For Eisenstein, the true stars of China and Japan were
the kings of kabuki, with whom he had his photograph taken, or Mei Ian-
Fang, about whom he planned...
Journal Article
Camera Obscura (2005) 20 (3 (60)): 91–127.
Published: 01 December 2005
....
For me, an event in 1935 Japan crystallizes such reflexivity.
On 11 December 1935, the leading film journal Kinema
junp¯o (Movie Times) announced the opening of a film series to
which it gave support, titled “Mei eiga su¯vunı¯ru” (“Memories of
Great Films4 The announcement’s subtitle reads...
Journal Article
Camera Obscura (2005) 20 (2 (59)): 73–117.
Published: 01 September 2005
... and the King of Siam and The King
and I,” in Late Imperial Culture, ed. Román de la Campa, E. Ann
110 • Camera Obscura
Kaplan, and Michael Sprinker (New York: Verso, 1995), 46–47,
and Sheng-mei Ma, “Rodgers and Hammerstein’s ‘Chopsticks’
Musicals,” Literature Film Quarterly 31...