By Chih-Yun Chiang
Theorizing Ambivalence in Ang Lee’s Transnational Cinema takes a different method of the examine of transnational cinema via reading the illustration of chinese language identification in Ang Lee’s motion pictures and the general public discourse from a variety of viewers groups. This booklet specializes in his transnational motion pictures Crouching Tiger, Hidden Dragon (2000) and Lust, Caution (2007) as case stories. supplying a scientific research of viewers discourse from Taiwan, Mainland China, Hong Kong, and the chinese language diaspora, this learn demanding situations ideological structures of racial and ethnic identification, equivalent to Chineseness, which are objectively outlined inside a static geographical region mechanism in an period of globalization. during the examine of the illustration of Chineseness, this e-book expands the theoretical discussions at the politics of nationwide id and cultural syncretism represented in transnational cinema and extra offers an exceptional instance of the conventional cycle of ambivalent emotion towards the West within the aftermath of postcolonialism. China and Taiwan’s lengthy historical past of accomplishing a subordinate courting with the West complements the resurgence of ambivalence. The representations turn into an important and fundamental method to mediate one’s physically reports, to attach and collaborate with each other, and to shape and tell one’s cultural identification. The analyses of those motion pictures and the viewers discourse are necessary to an figuring out of the ways that new media applied sciences influence and change the human interactions among peoples from a variety of cultural, social, and political contexts.
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Additional info for Theorizing Ambivalence in Ang Lee's Transnational Cinema
Thus the emphasis on cultural specificity and ethnic and national distinctiveness has been central to the site of international presentation. In other words, film festivals have become a site of cosmopolitanism, providing an outlet for the international exhibition of cinematic productions of national and ethnic particularity. In the milieus of transnationalism and cosmopolitanism, forms of cultural nationalism are inextricably linked with the politics of self-representation. Indeed, it is true that transnational cinema arises “in the interstices between the local and the global” (Ezra & Rowden, 2006, p.
How do audiences negotiate, affirm, and/or reaffirm their national and ethnic identity and the imaginary of a particular culture through these films? How does Ang Lee’s transnational cinematic discourse become a discursive site of negotiation of national and ethnic identity and culture for audiences? What kind of cultural meanings are being circulated through his films and audience communities, and what are the implications? Chapter three will theorize the various aspects that will further guide the analysis of the notion of ambivalence.
S. and its own identification. With the rise and later governance of the opposition political party—the Democratic Progressive Party (DPP), which advocates a distinct, Taiwanese identity—not only was a different political atmosphere fostered to resist KMT’s authoritarian regime and the threat of communist China, but also an active attempt was made to construct a distinct, “Taiwanese identity” in order to maintain or “clarify” a cultural particularity which should be considered as a constituted discourse.
Theorizing Ambivalence in Ang Lee's Transnational Cinema by Chih-Yun Chiang