Les livres en français sont sur www.livres-cinema.info
Women in East Asian Cinema
Gender Representations, Creative Labour and Global Histories
Sous la direction de Felicia Chan, Fraser Elliott et Andrew Willis
(0 vote)Moyenne des votes :
| 0 | vote |  = On peut s'en passer |
| 0 | vote |  = Bon livre |
| 0 | vote |  = Excellent livre |
| 0 | vote |  = Unique / une référence |
Votre vote : -
Description de l'ouvrage:
Examines the work of women in East Asian Cinema in front of and behind the screen
• Highlights understudied areas on women’s contributions to film – East Asian film in particular
• Highlights importance of re-historicising women’s creative labour in film, not just as actors on screen
• Recentres women’s film history into film history more broadly
• Creates opportunities for dialogue amongst established and emerging scholars working in different areas of East Asian film studies
Women in East Asian Cinema brings together new and emerging work to highlight and explore the understudied contributions of women to the films and creative industries of East Asia. It is a book which foregrounds the importance of re-historicising women’s creative labour in film, not just as actors on screen, but as voices who have steered the production, circulation and consumption of these films across global contexts.
Over three sections, the book provides perspectives on gender representation in East and South-East Asian cinema; new explorations of women’s labour contributions as directors, screenwriters, and editors; and considerations of the contemporary circulation processes through which such work reaches global audiences.
By recentring women’s film histories within the broader history of cinema and interrogating the geo-political boundaries of what might constitute ‘East Asia’ in the process, this volume makes a robust intervention into studies of East Asian cinema and women in film.
À propos des auteurs :
Felicia Chan is Senior Lecturer in Screen Studies at the University of Manchester where she researches the construction of national, cultural and cosmopolitan imaginaries in film and media. She is author of Cosmopolitan Cinema: Cross Cultural Encounters in East Asian Film (2017), co-editor of Chinese Cinemas: International Perspectives (2016) and founding member of the Manchester-based Chinese Film Forum UK.
Fraser Elliott is Lecturer of Film, Exhibition and Curation at the University of Edinburgh and a member of the Chinese Film Forum UK. His research specialises in the circulation of Chinese-language film in the UK and the histories of Hong Kong cinema. He is a member of the Chinese Film Forum UK, Festival Consultant for the Taiwan Film Festival Edinburgh; collaborator with the Hong Kong Film Festival UK; and co-editor of Full-throttle Franchise: The Culture, Business and Politics of Fast & Furious (2023).Andy Willis is Professor of Film Studies at the University of Salford, UK and Senior Visiting Curator: Film at HOME, Manchester. Amongst his publications he is the co-editor, with Jonathan Wroot, of Cult Media: Re-packaged, Re-released and Restored and DVD, Blu-ray and Beyond: Navigating Formats and Platforms within Media Consumption (2017), with Felicia Chan, of Chinese Cinemas, International Perspectives (2016) and with Wing Fai Leung, of East Asian Film Stars (2014). In addition he has curated a number of seasons and programmes of East Asian films, including, CRIME: Hong Kong Style (2016) and The Original Ass Kickers: Hong Kong Cinema’s Female Action Heroes (2019), and with Sarah Perks, Made in Hong Kong (2007) and Visible Secrets: Hong Kong’s women filmmakers (2009).
Revue de Presse:
This expertly edited volume puts East Asian women’s filmmaking into conversation with world cinema by focusing on feminist-queer aesthetics, female spectatorship and the female gaze. Women too often fail to get credit for the jobs they do as filmmakers, and this anthology helps to redress that disparity by shining a light on the often neglected work by Asian women filmmakers.– Gina Marchetti, Pratt Institute
This volume examines women’s creative labour across the spectrum of writing, acting, directing, and more in Asian film. With the global film environment always in mind, the authors brilliantly challenge Western models and bring out the often unrecognized role of women in developing original cinema traditions for new places and sensibilities.– Wendy Larson, University of Oregon
Voir le site internet de l'éditeur Edinburgh University Press
> Des mêmes auteurs :
Spanish Popular Cinema (2004)
> Sur un thème proche :
From Victimhood to Empowerment (2025)
Representing Women in 1920s Soviet Georgian Cinema
Sujet : Countries > Russia / USSR
Victims, Perpetrators and Professionals (2021)
The Representation of Women in Chinese Crime Films
de Tingting Hu
Triangulated Visions (1998)
Women in Recent German Cinema
The Language of Food (2024)
Through the Lens of East Asian Films and Drama
de Jieun Kiaer, Loli Kim et Niamh Calway
Retour
