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By Chih-Yun Chiang

Theorizing Ambivalence in Ang Lee’s Transnational Cinema takes a special method of the examine of transnational cinema via studying the illustration of chinese language identification in Ang Lee’s movies and the general public discourse from a number of viewers groups. This ebook makes a speciality of his transnational movies Crouching Tiger, Hidden Dragon (2000) and Lust, Caution (2007) as case reports. delivering a scientific research of viewers discourse from Taiwan, Mainland China, Hong Kong, and the chinese language diaspora, this research demanding situations ideological buildings of racial and ethnic id, reminiscent of Chineseness, which are objectively outlined inside of a static countryside mechanism in an period of globalization. in the course of the research of the illustration of Chineseness, this e-book expands the theoretical discussions at the politics of nationwide id and cultural syncretism represented in transnational cinema and additional offers a great instance of the universal cycle of ambivalent emotion towards the West within the aftermath of postcolonialism. China and Taiwan’s lengthy historical past of carrying out a subordinate dating with the West complements the resurgence of ambivalence. The representations develop into an important and essential option to mediate one’s physically reviews, to attach and collaborate with each other, and to shape and tell one’s cultural identification. The analyses of those movies and the viewers discourse are necessary to an knowing of the ways that new media applied sciences impression and change the human interactions among peoples from numerous cultural, social, and political contexts.

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Re)constructing a Cinematic Discourse of Chineseness The emotional structure of the feeling of national identity embodies an ambivalent nature which I will discuss in chapter three. I concentrate on Ang Lee’s transnational cinemas, seeking to bring out critical issues involving his discursive construction of Chinese identity. In doing so, I attempt to further an understanding of the ways in which living personal and national historical experiences closely intersect with each other and have continued to shape the macro level of national space as well as the desire and bodily experiences of identities and subjectivities on a personal level.

96). ” Both film critics and filmmakers viewed their role as social critics, presenting these films as political critiques of Chinese society and government (Lu, 1997b). Ang Lee and his films have been mainly categorized under Chinese National Cinema, Transnational Chinese cinema, and sometimes, world cinema. His early Mandarin language films (some of these have been termed the “Father Knows Best Trilogy”: Pushing Hands; the Wedding Banquet; and Eat, Drink, Man, Woman) were, however, considered part of New Taiwan Cinema.

In Taiwan, the complex entanglements of colonialism and the Cold War have been translated into Ang Lee’s cinematic representation and the responses of viewers. The process of searching for and/or desiring the “certainty” of a lost cultural root is a way for people to ground themselves from the uncertainties of a postmodern, transcolonial, and postcolonial milieu. While constantly searching for a cultural belonging and certainty, the emotional engagement and the embodiment of the identity formation simultaneously involve a process of exclusion.

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