By Yomi Braester, James Tweedie
The booklet strains universal issues between East Asian cinemas of Hong Kong, Japan, South Korea, the PRC, and Taiwan, and is going past the now accepted idea that the Asian metropolises are winning iterations of neighborhood id inside an international network.
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Extra info for Cinema at the City's Edge: Film and Urban Networks in East Asia
Kyung Hyun Kim argues for a complex understanding of A Single Spark by locating inconsistencies in the biographer’s idealistic representation of Cho˘n T’ae-il. 10 Presumably Pak Kwang-su narrates all this in 1995 from the more nuanced perspective afforded 44 Dudley Andrew by the democratization achieved in the late 1980s. He can ask contemporary viewers to keep both the past and the way it has been recruited in mind as he represents his two characters (Cho˘n T’ae-il and his biographer) as well as the two dramatic moments they lived out (1972, 1979).
Replay Irma Vep (1996): not just Maggie Cheung on the city’s rooftops, but Jean-Pierre 40 Dudley Andrew Léaud, specter of the nouvelle vague, disappears at the end and leaves behind only celluloid whose surface has been scratched through. 6 The hyperkinetic Hong Kong action films, some of them featuring Maggie Cheung, quickly engendered a shadow genre. Let us treat the Asian ghost film as this shadow or underside of the films of urban postmodernity. If Maggie Cheung climbs across the roofs of Paris in Irma Vep, it is only because she has emerged from the sewers and anonymous lower depths of Hong Kong.
Fig. 7 The City of Violence (Ryoo Seung-wan, 2006) Some films turn the camera itself into part of the framing urban architecture. In the concluding sequence of Good Morning, Beijing (2003; dir. Pan Jianlin), a woman who had been locked up and forced into prostitution tears away the black cardboard off the window in the room that was her prison. The woman watches, from atop a high-rise, Beijing at dawn. A slow zoom-in overlaps the film frame with the window. The sharp slivers protruding from the round-edged cardboard are reminiscent of an open shutter, 22 Interlude 1 placing the woman within a camera obscura through which she watches the city exposed to the morning light.