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Tsui Hark's Peking opera blues [electronic resource]

Tsui Hark's Peking opera blues [electronic resource]

자료유형
E-Book(소장)
개인저자
See Kam, Tan, 1958-.
서명 / 저자사항
Tsui Hark's Peking opera blues [electronic resource] / Tan See Kam.
발행사항
Hong Kong :   Hong Kong University Press,   c2016.  
형태사항
1 online resource (xviii, 229 p.).
총서사항
The New Hong Kong cinema series
ISBN
9789888313518 (electronic bk.) 9888313517 (electronic bk.) 9888208853 9789888208852 9789888208869 9888208861
요약
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.
일반주기
Title from e-Book title page.  
내용주기
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.
서지주기
Includes bibliographical references and filmography.
이용가능한 다른형태자료
Issued also as a book.  
주제명(개인명)
Tsui, Hark,   1951-.   Peking opera blues.  
바로가기
URL
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100 1 ▼a See Kam, Tan, ▼d 1958-.
245 1 0 ▼a Tsui Hark's Peking opera blues ▼h [electronic resource] / ▼c Tan See Kam.
260 ▼a Hong Kong : ▼b Hong Kong University Press, ▼c c2016.
300 ▼a 1 online resource (xviii, 229 p.).
490 1 ▼a The New Hong Kong cinema series
500 ▼a Title from e-Book title page.
504 ▼a Includes bibliographical references and filmography.
505 0 ▼a 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.
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.
530 ▼a Issued also as a book.
538 ▼a Mode of access: World Wide Web.
600 1 0 ▼a Tsui, Hark, ▼d 1951-. ▼t Peking opera blues.
830 0 ▼a New Hong Kong cinema.
856 4 0 ▼u https://oca.korea.ac.kr/link.n2s?url=http://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&AN=1286503
945 ▼a KLPA
991 ▼a E-Book(소장)

소장정보

No. 소장처 청구기호 등록번호 도서상태 반납예정일 예약 서비스
No. 1 소장처 중앙도서관/e-Book 컬렉션/ 청구기호 CR 791.4372 등록번호 E14005658 도서상태 대출불가(열람가능) 반납예정일 예약 서비스 M

컨텐츠정보

목차

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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