Description
Book SynopsisWomen Filmmakers in Sinophone World Cinema portrays a group of important contemporary women filmmakers working across the Sinophone world including Taiwan, Hong Kong, mainland China, and beyond. The book delineates and conceptualizes their cinematic and trans-media practices within an evolving, multifaceted feminist intimate-public commons. The films by these experienced and emerging filmmakers, including Huang Yu-shan, Yau Ching, Ai Xiaoming, Wen Hui, Huang Ji and others, represent some of the most innovative and socially engaged work in both fictional and non-fictional modes in Chinese-language cinema as well as global women’s cinema. Their narrative, documentary, and experimental film practices from the 1980s to the present, along with their work in sister media such as dance, theater, literature, and contemporary art, their activities as scholars, educators, activists, and film festival organizers or jurors, have significantly reshaped the landscape of Sinophone film culture and expanded the borders of world cinema.
Table of ContentsAcknowledgement Introduction Projecting Sinophone Cine-feminisms: Towards an Intimate-Public Commons 1. Migrating Hearts: Sinophone Geographies of Sylvia Chang’s “Woman’s Film” 2. Floating Light and Shadows: Huang Yu-shan’s Chronicles of Modern Taiwan 3. From Sidewalk Realism to Spectral Romance: Yang Lina’s Post-Socialist Beijing and Beyond 4. Eggs, Stones, and Stretch Marks: Haptic Visuality and Tactile Resistance in Huang Ji’s Personal Cinema 5. “Spicy-painful” Theater of History: Wen Hui’s Documentary Dance with Third Grandmother 6. In Praise of Trans-Asian Sisterhood: Labor, Love and Homecoming in Jasmine Ching-hui Lee’s Money and Honey 7. “We Are Alive”: Minor Transnationalism and Yau Ching’s Queer Experimental Filmmaking 8. Outcries and Whispers: Digital Political Mimesis and Radical Feminist Documentary Epilogue: At Home in the World Chinese Glossary Bibliography Filmography List of Figures Index
