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  1. Urban horror
    neoliberal post-socialism and the limits of visibility
    Autor*in: Huang, Erin Y.
    Erschienen: [2020]
    Verlag:  Duke University Press, Durham

    "Urban Horror offers a theory of neoliberal post-socialism through an examination of Chinese cinema. According to Erin Huang, neoliberal post-socialism is the economic order that succeeded the end of the Cold War, and describes the attempted... mehr

     

    "Urban Horror offers a theory of neoliberal post-socialism through an examination of Chinese cinema. According to Erin Huang, neoliberal post-socialism is the economic order that succeeded the end of the Cold War, and describes the attempted articulation of geopolitical and economic relations between formerly socialist and non-socialist countries in what Huang terms the era of the 'post' or 'post-X.' Rather than describing the definitive end of an era, 'post-X' proffers a regressive temporal logic that sutures the present to the past and continuously differs the future. Huang sees the proliferation of terms to describe Chinese economics after the 1978 economic reform policies as the symptoms of a geopolitical order that doesn't yet have a properly articulated name. For Huang, this unarticulated political order is nevertheless felt affectively through what she calls 'urban horror,' and it is best accessed through the cinema of the time period, in which hypermediality-when the meaning of the image no longer depends on an externally existing reality-became popular. Drawing on a definition of horror as a historical mode of perception that occurs when a perceived external reality exceeds one's internal frame of comprehension, Huang argues that the excess of feeling that marks horror's presence allows for an 'elusive sensory communicative channel' in which alternative and dissenting political feelings can emerge. Chapter 1 offers a historical study of the factory in cinema, positioning the images of factory ruins in Chinese cinema as an attempt to reinvent a past that never fully existed. Chapter 2 examines urban horror from a post-socialist feminist perspective by examining the films of Shaohong Li. Chapter 3 focuses on urban horror's development as a product of time in post-socialist Chinese documentary films. Chapter 4 focuses on post-1997 Hong Kong cinema that circulates public sentiments about Hong Kong as a place of political and economic exception. Chapter 5 examines the films of Ming-liang Tsai-and the subject of precarity in Tsai's films-in relation to their display in art museums and performance art spaces. This book will be of interest to students and scholars of Sinophone and East Asian studies, film studies, studies of globalization and neoliberalism, political and social theory, affect studies, feminist studies, and Marxist studies"-

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 9781478008095
    RVK Klassifikation: AP 53900
    Schriftenreihe: Sinotheory
    Schlagworte: China; Horrorfilm; Stadt <Motiv>; Geschichte 1990-2018;
    Weitere Schlagworte: Motion pictures / China / History and criticism; Motion pictures / Political aspects / China; Motion pictures / Social aspects / China; Cities and towns in motion pictures; Cities and towns in motion pictures; Motion pictures; Motion pictures / Political aspects; Motion pictures / Social aspects; China; Criticism, interpretation, etc
    Umfang: XII, 271 Seiten, Illustrationen
    Bemerkung(en):

    Literaturverzeichnis Seite [245]-257

    Extensive and substantial revision of author's thesis (doctoral)--University of California, Irvine, 2012, titled Capital's abjects : Chinese cinemas, urban horror, and the limits of visibility

    :
  2. Urban horror
    neoliberal post-socialism and the limits of visibility
    Autor*in: Huang, Erin Y.
    Erschienen: 2020
    Verlag:  Duke University Press, Durham ; London

    "Urban Horror offers a theory of neoliberal post-socialism through an examination of Chinese cinema. According to Erin Huang, neoliberal post-socialism is the economic order that succeeded the end of the Cold War, and describes the attempted... mehr

    Standort:
    Deutsche Kinemathek - Museum für Film und Fernsehen, Bibliothek
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Humboldt-Universität zu Berlin, Universitätsbibliothek, Jacob-und-Wilhelm-Grimm-Zentrum
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    "Urban Horror offers a theory of neoliberal post-socialism through an examination of Chinese cinema. According to Erin Huang, neoliberal post-socialism is the economic order that succeeded the end of the Cold War, and describes the attempted articulation of geopolitical and economic relations between formerly socialist and non-socialist countries in what Huang terms the era of the 'post' or 'post-X.' Rather than describing the definitive end of an era, 'post-X' proffers a regressive temporal logic that sutures the present to the past and continuously differs the future. Huang sees the proliferation of terms to describe Chinese economics after the 1978 economic reform policies as the symptoms of a geopolitical order that doesn't yet have a properly articulated name. For Huang, this unarticulated political order is nevertheless felt affectively through what she calls 'urban horror,' and it is best accessed through the cinema of the time period, in which hypermediality-when the meaning of the image no longer depends on an externally existing reality-became popular. Drawing on a definition of horror as a historical mode of perception that occurs when a perceived external reality exceeds one's internal frame of comprehension, Huang argues that the excess of feeling that marks horror's presence allows for an 'elusive sensory communicative channel' in which alternative and dissenting political feelings can emerge. Chapter 1 offers a historical study of the factory in cinema, positioning the images of factory ruins in Chinese cinema as an attempt to reinvent a past that never fully existed. Chapter 2 examines urban horror from a post-socialist feminist perspective by examining the films of Shaohong Li. Chapter 3 focuses on urban horror's development as a product of time in post-socialist Chinese documentary films. Chapter 4 focuses on post-1997 Hong Kong cinema that circulates public sentiments about Hong Kong as a place of political and economic exception. Chapter 5 examines the films of Ming-liang Tsai-and the subject of precarity in Tsai's films-in relation to their display in art museums and performance art spaces. This book will be of interest to students and scholars of Sinophone and East Asian studies, film studies, studies of globalization and neoliberalism, political and social theory, affect studies, feminist studies, and Marxist studies"-

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Dissertation
    ISBN: 9781478008095; 9781478006794
    RVK Klassifikation: AP 53900 ; AP 44962
    Schriftenreihe: Sinotheory
    Schlagworte: Videokunst; Blockbuster; Horrorfilm; Horror; Stadt <Motiv>; Dokumentarfilm
    Weitere Schlagworte: Motion pictures / China / History and criticism; Motion pictures / Political aspects / China; Motion pictures / Social aspects / China; Cities and towns in motion pictures; Cities and towns in motion pictures; Motion pictures; Motion pictures / Political aspects; Motion pictures / Social aspects; China; Criticism, interpretation, etc
    Umfang: xii, 271 Seiten, Illustrationen, 24 cm
    Bemerkung(en):

    Extensive and substantial revision of author's thesis (doctoral)--University of California, Irvine, 2012, titled Capital's abjects : Chinese cinemas, urban horror, and the limits of visibility

    Dissertation, University of California, 2012

    Introduction. Urban horror : speculative futures of Chinese cinemas -- Cartographies of socialism and post-socialism : the factory gate and the threshold of the visible world -- Intimate dystopias : post-socialist femininity and the Marxist-feminist interior -- The post- as media time : documentary experiments and the rhetoric of ruin gazing -- Post-socialism in Hong Kong : zone urbanism and Marxist phenomenology -- The ethics of representing precarity : subverting the givenness of this world
  3. Urban horror
    neoliberal post-socialism and the limits of visibility
    Autor*in: Huang, Erin Y.
    Erschienen: 2020
    Verlag:  Duke University Press, Durham ; London

    "Urban Horror offers a theory of neoliberal post-socialism through an examination of Chinese cinema. According to Erin Huang, neoliberal post-socialism is the economic order that succeeded the end of the Cold War, and describes the attempted... mehr

    Standort:
    Universitätsbibliothek Augsburg
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Bayerische Staatsbibliothek
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

     

    "Urban Horror offers a theory of neoliberal post-socialism through an examination of Chinese cinema. According to Erin Huang, neoliberal post-socialism is the economic order that succeeded the end of the Cold War, and describes the attempted articulation of geopolitical and economic relations between formerly socialist and non-socialist countries in what Huang terms the era of the 'post' or 'post-X.' Rather than describing the definitive end of an era, 'post-X' proffers a regressive temporal logic that sutures the present to the past and continuously differs the future. Huang sees the proliferation of terms to describe Chinese economics after the 1978 economic reform policies as the symptoms of a geopolitical order that doesn't yet have a properly articulated name. For Huang, this unarticulated political order is nevertheless felt affectively through what she calls 'urban horror,' and it is best accessed through the cinema of the time period, in which hypermediality-when the meaning of the image no longer depends on an externally existing reality-became popular. Drawing on a definition of horror as a historical mode of perception that occurs when a perceived external reality exceeds one's internal frame of comprehension, Huang argues that the excess of feeling that marks horror's presence allows for an 'elusive sensory communicative channel' in which alternative and dissenting political feelings can emerge. Chapter 1 offers a historical study of the factory in cinema, positioning the images of factory ruins in Chinese cinema as an attempt to reinvent a past that never fully existed. Chapter 2 examines urban horror from a post-socialist feminist perspective by examining the films of Shaohong Li. Chapter 3 focuses on urban horror's development as a product of time in post-socialist Chinese documentary films. Chapter 4 focuses on post-1997 Hong Kong cinema that circulates public sentiments about Hong Kong as a place of political and economic exception. Chapter 5 examines the films of Ming-liang Tsai-and the subject of precarity in Tsai's films-in relation to their display in art museums and performance art spaces. This book will be of interest to students and scholars of Sinophone and East Asian studies, film studies, studies of globalization and neoliberalism, political and social theory, affect studies, feminist studies, and Marxist studies"-

     
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Sprache: Englisch
    Medientyp: Dissertation
    ISBN: 9781478008095; 9781478006794
    RVK Klassifikation: AP 53900 ; AP 44962
    Schriftenreihe: Sinotheory
    Schlagworte: Videokunst; Blockbuster; Horrorfilm; Horror; Stadt <Motiv>; Dokumentarfilm
    Weitere Schlagworte: Motion pictures / China / History and criticism; Motion pictures / Political aspects / China; Motion pictures / Social aspects / China; Cities and towns in motion pictures; Cities and towns in motion pictures; Motion pictures; Motion pictures / Political aspects; Motion pictures / Social aspects; China; Criticism, interpretation, etc
    Umfang: xii, 271 Seiten, Illustrationen, 24 cm
    Bemerkung(en):

    Extensive and substantial revision of author's thesis (doctoral)--University of California, Irvine, 2012, titled Capital's abjects : Chinese cinemas, urban horror, and the limits of visibility

    Dissertation, University of California, 2012

    Introduction. Urban horror : speculative futures of Chinese cinemas -- Cartographies of socialism and post-socialism : the factory gate and the threshold of the visible world -- Intimate dystopias : post-socialist femininity and the Marxist-feminist interior -- The post- as media time : documentary experiments and the rhetoric of ruin gazing -- Post-socialism in Hong Kong : zone urbanism and Marxist phenomenology -- The ethics of representing precarity : subverting the givenness of this world