By Wimal Dissanayake
"... an immense collective paintings for communique practitioners, scholars, and students who are looking to have a deeper realizing of movie making in Asia and of the merchandising of nationalism via communication." ―Media Asia
"... a momentous contribution to the learn of colonialism and postcoloniality in Asia... " ―The magazine of Asian Studies
"This is a superb version for experiences in how the preferred, artwork, and experimental cinemas functionality within the attention of nationhood as a configuration of symbols.... This anthology offers an engaging dialogue through delivering a theoretical framework from which to check the advanced subject matters of state, kingdom, id formation, and collective historical past within the realm of cinema. It turns into a fair better instrument via taking part in itself out inside a various Asian context." ―Afterimage
Essays learn the illustration of the interlocking discourses of nationhood and background in Asian cinema, facing movie traditions in Japan, China, Taiwan, Korea, Vietnam, Thailand, Indonesia, India, Sri Lanka, and Australia.
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Extra info for Colonialism and Nationalism in Asian Cinema
Sample text
The story takes place in the island of Awaji after World War II. A group of sixthgrade school children are being taught how to edit their textbooks in keeping with the orders from higherups in the administration. Two of the children, as a way of protesting the loss of their motherland, run away from school. Mune, the daughter of a captain of the navy who is considered to be a war criminal by the Allied forces, is a newcomer to class. Komako, the teacher in charge of the class, is a young widow.
Hence the different ways in which different modes of Asian cinema approach questions of nationhood and history are extremely instructive and underline the multivalent nature of the relationship among nationhood, history, and cinema. The artistic and experimental cinemas serve to highlight the ambivalent unities, marginalized voices, and emergent and oppositional discourses that cohabit the national space, thereby setting in motion a detotalizing dialectic. In most Asian countries cinema is used strategically to reinforce the myth of the unitary nation and to interpellate the textual subjects as willing members of the nation.
He is on record as saying that he made this film, "not for the sake of opening up old wounds, but because it's vital that we face up to this incident if we are to understand where we come from and who we are as Taiwanese. The Chinese way has always been to cover over domestic scandals, to pretend they never happened, but I am not at all persuaded that that's a good thing. " 20 A City of Sadness represents the ambivalences and the fractured signs that inevitably occupy the national space. What is clear, then, is that the idea of nationhood aims to present itself as a transcendental domain of identity which occludes the diverse elements of difference that we have discussed above.