6 research outputs found
"Chinese stardom in participatory cyberculture," by Dorothy Wai Sim Lau
No full textReview of Dorothy Wai Sim Lau. Chinese stardom in participatory cyberculture. Edinburgh: Edinburgh University Press, 2018, hardback, £75 (224p) ISBN 978-1474430333
Cinephiles, music fans and film auteur(s): Transcultural taste cultures surrounding mashups of Wong Kar-wai’s movies on YouTube
Get PDFMuch has been written about the Chinese-born Hong Kong-based film director Wong Karwai and his films, particularly in relation to the socio-cultural contexts of Hong Kong before and after the handover to China, and the transcultural aesthetic traditions in his works. Beyond academic and critical domains, Wong’s reputation has largely been generated by fans. Taking advantage of the large scale user-generated content associated with the director on YouTube, this essay explores day-to-day discourses that shape Wong’s persistent auteur reputation. The essay proposes a multimodal discursive and textual analysis of YouTube mashups that takes into account long-standing debates on cinephilia, media fandom and film authorship. The findings reveal a discourse of pleasure surrounding the appropriation and ownership of canonised movies, a taste homology between cinephiles and cult music fans, and tension among audiences with different identity politics. The circulation of these videos in the public domain by different agents can be seen as the exchange of ‘forms of capital’ (Bourdieu, 1993: 2) that creates distinctions among transcultural fan groups, which are connected in an ad-hoc basis. In the process, the reputation of the director as a film auteur is affirmed, expanded, and occasionally challenged
“Why So Wong”: Transnational Asian Cinema Through the Lens of Cinephiles and Transmedia Fans
No full text
Session 5, Wikanda Promkhuntong, April 5th: ‘Runaway’ Foreign Film Productions from a Global South Perspective, Wikanda Promkhuntong
No full textThis proposed seminar session draws attention to the phenomenon of runaway production in the context of Thailand, whereby the subject has been publicly shaped by the state’s policy that positions the country as a site for spectacular locations and skillfully cheap labour for foreign film productions since the early 2010s. The paper repositions the dialogue by shifting the emphasis to the ways local workers have defined and continue to redefine foreign film productions based on their own expe..
