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Theorizing Colonial Cinema
Reframing Production, Circulation, and Consumption of Film in Asia
Nayoung Aimee Kwon (Edited by), Takushi Odagiri (Edited by), Moonim Baek (Edited by), Nadine Chan (Contributions by), Aaron Gerow (Contributions by), Jane Marie Gaines (Contributions by), Zhen Zhang (Contributions by), Thomas A. C. Barker (Contributions by), Nikki J. Y. Lee (Contributions by), José B. Capino (Contributions by), Yiman Wang (Contributions by)
9780253059741
Hardback, published 1 February 2022
306 pages, 34 b&w photos - 34 Halftones, black and white
22.9 x 15.2 x 1.5 cm, 0.617 kg
This collection's theoretical advancement not only expands the understanding of the periods and films studied in it, but is applicable to the study of other colonial and neocolonial periods. Due to its sheer scope, this volume is valuable not only for film scholars but also for those interested in postcolonial studies, as it ofers useful frameworks to rethink colonialism itself in the context of Asia. More specifically, film scholars interested in early cinema histories or decolonial historiography, as well as those interested in the transpacific and the transnational as broader frameworks, can find this volume deeply insightful.
Theorizing Colonial Cinema is a millennial retrospective on the entangled intimacy between film and colonialism from film's global inception to contemporary legacies in and of Asia. The volume engages new perspectives by asking how prior discussions on film form, theory, history, and ideology may be challenged by centering the colonial question rather than relegating it to the periphery. To that end, contributors begin by excavating little-known archives and perspectives from the colonies as a departure from a prevailing focus on Europe's imperial histories and archives about the colonies. The collection pinpoints various forms of devaluation and misrecognition both in and beyond the region that continue to relegate local voices to the margins. This pathbreaking study on global film history advances prior scholarship by bringing together an array of established and new interdisciplinary voices from film studies, Asian studies, and postcolonial studies to consider how the present is continually haunted by the colonial past. Winner of the SCMS Best Edited Collection Award!
Acknowledgments
On Romanization, Naming and Translation
Introduction, by Nayoung Aimee Kwon and Takushi Odagiri
Part I: "Time and Racialized Other: Colonial Modernity and Early Cinema"
1. Time, Race, and the Asynchronous in the Colonial Documentaries of Malaya, by Nadine Chan
2. Facing Malcontent Colonial Korean Comrades: A Typology of Colonial Cinema in Asia's Socialist Alliances, by Moonim Baek
3. Colonial-Era Film Theory, Spectatorship, and the Problem of Internalization, by Aaron Gerow
4. Chinese Cinema's Other: Wrangling over "China-humiliating" Films (ruHua pian), by Yiman Wang
5. World Export: Melodramas of Colonial Conquest, by Jane Marie Gaines
Part II: "Divided Mis-en-Scène: Colonial Cinema and Cold War Afterimages"
6. Tarzan/Taishan and Other Orphans: Taiwan's Melodrama of Decolonization, by Zhang Zhen
7. What Is an Auteur? Hŏ Yŏng/Hinatsu Eitarō/Huyung Between (Post)Colonial Indonesia, Japan, and Korea, by Thomas A. C. Barker and Nikki J. Y. Lee
Part III: "Millennial Hauntings: Rising Global Asian Cinemas"
8. Cinema's Coloniality, by Takushi Odagiri
9. A Hallucinatory History of the Philippine-American War: Khavn's Balangiga: Howling Wilderness, by José B. Capino
10. Millennial Vengeance: Park Chan-Wook's Agassi (The Handmaiden) and the Return of Postcolonial Japonisme, by Nayoung Aimee Kwon
Index