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positions (2014) 22 (2): 489–515.
Published: 01 May 2014
... of liveness lives on in activist documentary by directors such as Ai Xiaoming, Hu Jie, Zhao Liang, and Cui Zi'en, other directors have used the talking head in ways that highlight its mediated side. Using Shu Haolun's Nostalgia and Wang Bing's Fengming: A Chinese Memoir as examples, the article explores how...
positions (2022) 30 (4): 815–838.
Published: 01 November 2022
... by understanding North Koreans as potential criminals. The first part conceptualizes Korean Chinese villagers’ ethical obligation toward North Koreans, which I call ethnic ethos , and focuses on how the director preserves the Korean Chinese's conscience by stereotyping North Korean border crossers as “dangerous...
positions (2009) 17 (2): 435–454.
Published: 01 May 2009
...Hsiu-Chuang Deppman This essay is a study of Chen Guofu and Cai Mingliang, two prominent Taiwan directors whose work in the 1980s helped shape the Second New Wave movement. More recently, Chen's 1998 The Personals and Cai's 2002 What Time Is It There? broke new ground by developing controlled...
positions (2012) 20 (4): 1127–1157.
Published: 01 November 2012
... formulated with respect to the recent praxis of established experimentalists such as Beijing-based director and dramatist Meng Jinghui. The article argues that the Chinese avant-garde is not dead; it has, rather, evolved into a distinctive “pop avant-garde” mode that more aptly reflects and responds...
positions (2008) 16 (3): 491–505.
Published: 01 August 2008
..., transform human resources into social capital and use the surplus rural labor for changing the conditions of the villages. The James Yen Rural Reconstruction Institute (YIRR), set up in a village in Hebei Province, of which the author is the director, has been an experiment on self-reliant ways...
positions (2009) 17 (3): 643–653.
Published: 01 August 2009
... feature film directed by award-winning Taiwanese woman director Tseng Wen-Chen. While contributing to the slowly growing canon of Taiwanese cinema, an industry historically dwarfed by the Hollywood machine, this essay examines how the film perpetuates notions of primitivism in cinema in its effort...
positions (2010) 18 (3): 695–725.
Published: 01 August 2010
...Kirsten Cather This article discusses the obscenity trial of director Oshima Nagisa's 1976 book In the Realm of the Senses , which includes a series of still photographs and the screenplay from his notorious film of the same name. The case illustrates how obscenity convictions in postwar Japan...
positions (2018) 26 (3): 389–421.
Published: 01 August 2018
...Gerald Sim Situated astride Malaysian and global film culture, the late director Yasmin Ahmad presents a fresh model of postcolonial poetics. Her films gravitated toward interracial romance melodramas set in globalized social and cultural milieus, where she stages interethnic squabbles between...
positions (2019) 27 (2): 361–396.
Published: 01 May 2019
..., they are characterized by the camera’s introspective gaze, a gaze directed toward the filmmaker herself. The films show various reflexive images of the director, such as her shadows, her reflections on a car window, and her images taken by her relative. This introspective (self-mirroring) style of Kawase’s documentaries...
positions (2011) 19 (2): 393–420.
Published: 01 May 2011
.... A heavily “pro-peace” rhetoric was deployed by the Christian Filipino director and producers during their promotion of the film. The article argues that, given the history of Moro disenfranchisement and oppression, the film and the pro-peace discourse surrounding it attempt to sublimate not only...
positions (2023) 31 (2): 357–378.
Published: 01 May 2023
... theater scene introduced him to the labor NGO and community cultural center Migrant Workers Home in the urban village Picun in Beijing. Sakurai's collaborators suggested that the suburban village-in-the-city, populated by rural migrant workers, would be a performance venue that fit the Japanese director's...
positions (2006) 14 (1): 219–242.
Published: 01 February 2006
... in your films probably has something to do with the fact that you are also diasporic? TM: The way I answer this question is that I would say that I am a Taiwan- ese director from Malaysia. [Laughs.] This is also a question of identity. I feel...
positions (1995) 3 (3): 790–805.
Published: 01 August 1995
...Dai Jinhua; Mayfair Yang Copyright © 1995 by Duke University Press 1995 Interview A Conversation with Huang Shuqing Dai Jinhua and Mayfair Yang This conversation with film director Huang Shuquing took place 25 September and I I November...
positions (2012) 20 (1): 373–383.
Published: 01 February 2012
... screening of Andrew Cheng’s Shanghai Panic I took the photos showcased here during the festival and the lm screening in at theatres, in restaurants and parties associated with the events, and while I met with directors. I...
positions (1995) 3 (1): 255–280.
Published: 01 February 1995
... male-centered. Another paradox she considers is that although the Chinese film industry has one of the world’s largest groups of women directors, very few films can be said to have a female perspective except for Huang Shuqin’s “Women...
positions (2014) 22 (4): 749–780.
Published: 01 November 2014
... highest honor for an author, the Imperial Culture Award in 1952. Kumashiro was a new director at Nikkatsu studio with just three films to his credit. Nonetheless, far from suggesting any fall of epic proportions, this example traces the opposite...
positions (2017) 25 (1): 51–99.
Published: 01 February 2017
... of seeing, being, and moving that have been fundamental to the experience of twentieth-century modernity.4 Theories of visual culture and architecture Sunya ∣∣ Moving toward prem nagar 53 Table 1. Song Film Year Director Singers Lyricist Music...
positions (2013) 21 (3): 761–762.
Published: 01 August 2013
... the Japanese Colonial Era (2013). Guo-Juin Hong is associate professor of Chinese culture in the Department of Asian and Middle Eastern Studies and director of the Program in the Arts of the Moving Image at Duke University. His book...
positions (2023) 31 (4): 839–862.
Published: 01 November 2023
... et al. 2017; Berry 2017 ; D. Lee 2018 ). To distinguish these young directors from older filmmakers, the films they made during the past decade have been dubbed post–New Cinema, in reference to the Taiwan New Cinema that preceded them. Post–New Cinema directors shared the interest that Taiwan New...
positions (1994) 2 (2): 382–405.
Published: 01 May 1994
...Linda Hoaglund Copyright © 1994 by Duke University Press 1994 Interview A Conversation with Kobayashi Masaki Linda Hoaglund This conversation with film director Kobayashi Masaki took place in July 1993. Conducted as part of a documentary...