(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

Department of Humanities and Creative Writing

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

Social Sciences(all)
Arts and Humanities(all)

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10.4324/9781315849560

Cite this

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(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

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

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