1-16 of 16 Search Results for

mei

Follow your search
Access your saved searches in your account

Would you like to receive an alert when new items match your search?
Close Modal
Sort by
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 | View All (4)
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...