(Un-)Folding hollywood and new Chinese subjectivity through PRC’s minority national films in the 1950s and 1960s

Kwai Cheung Lo

doi:10.4324/9781315849560

(Un-)Folding hollywood and new Chinese subjectivity through PRC’s minority national films in the 1950s and 1960s

Kwai Cheung Lo

Research output: Chapter in book/report/conference proceeding › Chapter › peer-review

1 Citation (Scopus)

Abstract

Perhaps the cinematic world should be envisioned as an inseparable, folded totality in which any visible and discernible distinction is only a local operation. The so-called world of enclosures is actually never closed, and the seemingly distinct is not necessarily separated. Chinese socialist cinema of the 1950s to 1960s was never anti-American as generally presumed. Communist China’s act of expelling Hollywood movies at the beginning of the Korean War (1950-53) was not necessarily a rupture or a cut in the continuity of fi lmic relationship, but rather an infl ection point, a zigzag, or a sinuous fold.

Original language	English
Title of host publication	American and Chinese-Language Cinemas
Subtitle of host publication	Examining Cultural Flows
Editors	Lisa Funnell, Man-Fung Yip
Publisher	Routledge
Chapter	5
Pages	71-85
Number of pages	15
Edition	1st
ISBN (Electronic)	9781315849560
ISBN (Print)	9780415731829, 9781138305854
DOIs	https://doi.org/10.4324/9781315849560
Publication status	Published - 19 Sept 2014

Publication series

Name	Routledge advances in film studies
Publisher	Routledge

Scopus Subject Areas

General Social Sciences
General Arts and Humanities

Access to Document

10.4324/9781315849560

Cite this

@inbook{a4a4e274bd5848f781e09a10e231f94f,

title = "(Un-)Folding hollywood and new Chinese subjectivity through PRC{\textquoteright}s minority national films in the 1950s and 1960s",

abstract = "Perhaps the cinematic world should be envisioned as an inseparable, folded totality in which any visible and discernible distinction is only a local operation. The so-called world of enclosures is actually never closed, and the seemingly distinct is not necessarily separated. Chinese socialist cinema of the 1950s to 1960s was never anti-American as generally presumed. Communist China{\textquoteright}s act of expelling Hollywood movies at the beginning of the Korean War (1950-53) was not necessarily a rupture or a cut in the continuity of fi lmic relationship, but rather an infl ection point, a zigzag, or a sinuous fold.",

author = "Lo, {Kwai Cheung}",

year = "2014",

month = sep,

day = "19",

doi = "10.4324/9781315849560",

language = "English",

isbn = "9780415731829",

series = "Routledge advances in film studies",

publisher = "Routledge",

pages = "71--85",

editor = "Lisa Funnell and Man-Fung Yip",

booktitle = "American and Chinese-Language Cinemas",

edition = "1st",

}

(Un-)Folding hollywood and new Chinese subjectivity through PRC’s minority national films in the 1950s and 1960s. / Lo, Kwai Cheung.
American and Chinese-Language Cinemas: Examining Cultural Flows. ed. / Lisa Funnell; Man-Fung Yip. 1st. ed. Routledge, 2014. p. 71-85 (Routledge advances in film studies).

Research output: Chapter in book/report/conference proceeding › Chapter › peer-review

TY - CHAP

T1 - (Un-)Folding hollywood and new Chinese subjectivity through PRC’s minority national films in the 1950s and 1960s

AU - Lo, Kwai Cheung

PY - 2014/9/19

Y1 - 2014/9/19

N2 - Perhaps the cinematic world should be envisioned as an inseparable, folded totality in which any visible and discernible distinction is only a local operation. The so-called world of enclosures is actually never closed, and the seemingly distinct is not necessarily separated. Chinese socialist cinema of the 1950s to 1960s was never anti-American as generally presumed. Communist China’s act of expelling Hollywood movies at the beginning of the Korean War (1950-53) was not necessarily a rupture or a cut in the continuity of fi lmic relationship, but rather an infl ection point, a zigzag, or a sinuous fold.

AB - Perhaps the cinematic world should be envisioned as an inseparable, folded totality in which any visible and discernible distinction is only a local operation. The so-called world of enclosures is actually never closed, and the seemingly distinct is not necessarily separated. Chinese socialist cinema of the 1950s to 1960s was never anti-American as generally presumed. Communist China’s act of expelling Hollywood movies at the beginning of the Korean War (1950-53) was not necessarily a rupture or a cut in the continuity of fi lmic relationship, but rather an infl ection point, a zigzag, or a sinuous fold.

UR - https://www.taylorfrancis.com/chapters/edit/10.4324/9781315849560-12/un-folding-hollywood-new-chinese-subjectivity-prc-minority-nationality-films-1950s-1960s-kwai-cheung-lo?context=ubx&refId=837a5ace-a028-4c6c-b15c-06cd10134bc6

UR - https://www.routledge.com/American-and-Chinese-Language-Cinemas-Examining-Cultural-Flows/Funnell-Yip/p/book/9781138305854

UR - http://www.scopus.com/inward/record.url?scp=84960478414&partnerID=8YFLogxK

U2 - 10.4324/9781315849560

DO - 10.4324/9781315849560

M3 - Chapter

AN - SCOPUS:84960478414

SN - 9780415731829

SN - 9781138305854

T3 - Routledge advances in film studies

SP - 71

EP - 85

BT - American and Chinese-Language Cinemas

A2 - Funnell, Lisa

A2 - Yip, Man-Fung

PB - Routledge

ER -

(Un-)Folding hollywood and new Chinese subjectivity through PRC’s minority national films in the 1950s and 1960s

Abstract

Publication series

Scopus Subject Areas

Access to Document

Other files and links

Fingerprint

Cite this