Description

Film Authorship in Contemporary Transmedia Culture: The Paratextual Lives of Asian Auteurs examines film authorship in the transmedia era whereby film directors have become public figures through a wide range of textual, material, and performative practices. The book draws on the notion of paratext and its related term – palimpsest – to bring forth the idea of self-reflexive authorship as a method of examining the mediated past, present, and afterlife of East Asian filmmakers. The first part of the book pays attention to materials surrounding film festivals, multi-platform distribution, and cinephile/fan creative practices, which have been created, rewritten, and shared to foster and problematize the reputations of selected filmmakers. The second part examines alternative modes of self-projections and creative productions that address the filmmakers’ sense of selves and relations with the industry and the public. Across different chapters, discourses surrrounding film authorship and East Asian cinema are revisited and expanded to highlight its multiple histories and possible futures.

Film Authorship in Contemporary Transmedia Culture: The Paratextual Lives of Asian Auteurs

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Hardback by Wikanda Promkhuntong

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Film Authorship in Contemporary Transmedia Culture: The Paratextual Lives of Asian Auteurs examines film authorship in the transmedia era whereby... Read more

    Publisher: Amsterdam University Press
    Publication Date: 21/08/2023
    ISBN13: 9789462987531, 978-9462987531
    ISBN10: 946298753X

    Number of Pages: 270

    Non Fiction , Art & Photography

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    Description

    Film Authorship in Contemporary Transmedia Culture: The Paratextual Lives of Asian Auteurs examines film authorship in the transmedia era whereby film directors have become public figures through a wide range of textual, material, and performative practices. The book draws on the notion of paratext and its related term – palimpsest – to bring forth the idea of self-reflexive authorship as a method of examining the mediated past, present, and afterlife of East Asian filmmakers. The first part of the book pays attention to materials surrounding film festivals, multi-platform distribution, and cinephile/fan creative practices, which have been created, rewritten, and shared to foster and problematize the reputations of selected filmmakers. The second part examines alternative modes of self-projections and creative productions that address the filmmakers’ sense of selves and relations with the industry and the public. Across different chapters, discourses surrrounding film authorship and East Asian cinema are revisited and expanded to highlight its multiple histories and possible futures.

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