Tsui Hark's Peking opera blues /:
Part historical drama, part thriller, and part comedy, Tsui Hark's Peking Opera Blues (1986) invites--if not demands--examinations from multiple perspectives. Tan See Kam rises to the challenge in this study by first situating Tsui in a Sinophone context. The diasporic director explores differe...
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| Format: | Elektronisch E-Book |
| Sprache: | English |
| Veröffentlicht: |
Hong Kong :
Hong Kong University Press,
©2016.
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| Schriftenreihe: | New Hong Kong cinema.
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| Schlagworte: | |
| Online-Zugang: | Volltext |
| Zusammenfassung: | Part historical drama, part thriller, and part comedy, Tsui Hark's Peking Opera Blues (1986) invites--if not demands--examinations from multiple perspectives. Tan See Kam rises to the challenge in this study by first situating Tsui in a Sinophone context. The diasporic director explores different dimensions of "Chineseness" in the film by depicting competing versions of Chinese nationalism and presenting characters speaking two Chinese languages, Cantonese and Mandarin. In the process he compels viewers to recognize the multiplicities of the Chinese identity and rethink what constitutes cultural Chineseness. The challenge to a single definition of "Chinese" is also embodied by the playful pastiches of diverse materials. In a series of intertextual readings, Tan reveals the full complexity of Peking Opera Blues by placing it at the center of a web of texts consisting of Tsui's earlier film Shanghai Blues (1984), Hong Kong's Mandarin Canto-pop songs, the "three-women" films in Chinese-language cinemas, and of course, traditional Peking opera, whose role-types, makeup, and dress code enrich the meaning of the film. In Tan's portrayal, Tsui Hark is a filmmaker who makes masterly use of postmodernist techniques to address postcolonial concerns. More than a quarter of a century after its release, Tan shows, Peking Opera Blues still reverberates in the present time |
| Beschreibung: | 1 online resource (248 pages) |
| Bibliographie: | Includes bibliographical references and filmography. |
| ISBN: | 9789888313518 9888313517 |
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| 520 | |a Part historical drama, part thriller, and part comedy, Tsui Hark's Peking Opera Blues (1986) invites--if not demands--examinations from multiple perspectives. Tan See Kam rises to the challenge in this study by first situating Tsui in a Sinophone context. The diasporic director explores different dimensions of "Chineseness" in the film by depicting competing versions of Chinese nationalism and presenting characters speaking two Chinese languages, Cantonese and Mandarin. In the process he compels viewers to recognize the multiplicities of the Chinese identity and rethink what constitutes cultural Chineseness. The challenge to a single definition of "Chinese" is also embodied by the playful pastiches of diverse materials. In a series of intertextual readings, Tan reveals the full complexity of Peking Opera Blues by placing it at the center of a web of texts consisting of Tsui's earlier film Shanghai Blues (1984), Hong Kong's Mandarin Canto-pop songs, the "three-women" films in Chinese-language cinemas, and of course, traditional Peking opera, whose role-types, makeup, and dress code enrich the meaning of the film. In Tan's portrayal, Tsui Hark is a filmmaker who makes masterly use of postmodernist techniques to address postcolonial concerns. More than a quarter of a century after its release, Tan shows, Peking Opera Blues still reverberates in the present time | ||
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| contents | Introduction : setting the scene -- Act 1. Story and structure -- Act 2. Warlords, history, and the democratic dream -- Act 3. Shanghai and Peking blues : fiction as imagined history -- Act 4. The shadowplay of attractions and painted faces -- Act 5. Three-women fiction, mandarin ducks and butterflies -- Postscript. |
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| indexdate | 2024-11-27T13:27:21Z |
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| spelling | Tan, See Kam, 1958- author. https://id.oclc.org/worldcat/entity/E39PCjtBydvVKtQMK9m7RmddBd Tsui Hark's Peking opera blues / Tan See Kam. Hong Kong : Hong Kong University Press, ©2016. 1 online resource (248 pages) text txt rdacontent computer c rdamedia online resource cr rdacarrier The New Hong Kong cinema series Print version record. Includes bibliographical references and filmography. Introduction : setting the scene -- Act 1. Story and structure -- Act 2. Warlords, history, and the democratic dream -- Act 3. Shanghai and Peking blues : fiction as imagined history -- Act 4. The shadowplay of attractions and painted faces -- Act 5. Three-women fiction, mandarin ducks and butterflies -- Postscript. Part historical drama, part thriller, and part comedy, Tsui Hark's Peking Opera Blues (1986) invites--if not demands--examinations from multiple perspectives. Tan See Kam rises to the challenge in this study by first situating Tsui in a Sinophone context. The diasporic director explores different dimensions of "Chineseness" in the film by depicting competing versions of Chinese nationalism and presenting characters speaking two Chinese languages, Cantonese and Mandarin. In the process he compels viewers to recognize the multiplicities of the Chinese identity and rethink what constitutes cultural Chineseness. The challenge to a single definition of "Chinese" is also embodied by the playful pastiches of diverse materials. In a series of intertextual readings, Tan reveals the full complexity of Peking Opera Blues by placing it at the center of a web of texts consisting of Tsui's earlier film Shanghai Blues (1984), Hong Kong's Mandarin Canto-pop songs, the "three-women" films in Chinese-language cinemas, and of course, traditional Peking opera, whose role-types, makeup, and dress code enrich the meaning of the film. In Tan's portrayal, Tsui Hark is a filmmaker who makes masterly use of postmodernist techniques to address postcolonial concerns. More than a quarter of a century after its release, Tan shows, Peking Opera Blues still reverberates in the present time Tsui, Hark, 1950- Peking opera blues. Tsui, Hark, 1951- Criticism and interpretation. PERFORMING ARTS Reference. bisacsh has work: Tsui Hark's Peking opera blues (Text) https://id.oclc.org/worldcat/entity/E39PCGXBWXbyxxqHMdQV86Trbd https://id.oclc.org/worldcat/ontology/hasWork Print version: See Kam, Tan, 1958- Tsui Hark's Peking opera blues. Hong Kong : Hong Kong University Press, [2016] 9888208853 (OCoLC)946160181 New Hong Kong cinema. http://id.loc.gov/authorities/names/no2003113587 FWS01 ZDB-4-EBA FWS_PDA_EBA https://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1286503 Volltext |
| spellingShingle | Tan, See Kam, 1958- Tsui Hark's Peking opera blues / New Hong Kong cinema. Introduction : setting the scene -- Act 1. Story and structure -- Act 2. Warlords, history, and the democratic dream -- Act 3. Shanghai and Peking blues : fiction as imagined history -- Act 4. The shadowplay of attractions and painted faces -- Act 5. Three-women fiction, mandarin ducks and butterflies -- Postscript. Tsui, Hark, 1950- Peking opera blues. Tsui, Hark, 1951- Criticism and interpretation. PERFORMING ARTS Reference. bisacsh |
| title | Tsui Hark's Peking opera blues / |
| title_auth | Tsui Hark's Peking opera blues / |
| title_exact_search | Tsui Hark's Peking opera blues / |
| title_full | Tsui Hark's Peking opera blues / Tan See Kam. |
| title_fullStr | Tsui Hark's Peking opera blues / Tan See Kam. |
| title_full_unstemmed | Tsui Hark's Peking opera blues / Tan See Kam. |
| title_short | Tsui Hark's Peking opera blues / |
| title_sort | tsui hark s peking opera blues |
| topic | Tsui, Hark, 1950- Peking opera blues. Tsui, Hark, 1951- Criticism and interpretation. PERFORMING ARTS Reference. bisacsh |
| topic_facet | Tsui, Hark, 1950- Peking opera blues. Tsui, Hark, 1951- Criticism and interpretation. PERFORMING ARTS Reference. |
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