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Notes on Contributors vii
Introduction: On East Asian Filmmakers Kate E. Taylor 1
An Interview with Naomi Kawase S. Louisa Wei Komatsu Ran Yang Yuanying 9
Women's Trajectories in Chinese and Japanese Cinemas: A Chronological Overview S. Louisa Wei 13
Fusion Cinema: The Relationship Between Jia Zhangke's Films Dong and Still Life Barbara Jenni 45
From the Art House to the Mainstream: Artistry and Commercialism in Zhang Yimou's Filmmaking Xin Wang 62
Feng Xiaogang and Ning Hao: Directing China's New Film Comedies J. Colleen Berry 80
Recuperating Displacement: The Search for Alternative Narratives in Tsai Ming-Liang's the Hole and What Time is it There? E. K. Tan 93
De-Mystifying a Postwar Myth: Reading Fukasaku's Jinginaki Tatakai Masashi Ichiki 107
Gathering Dust in the Wind: Memory and the 'Real' in Rithy Panh's S21 Saër Maty Ba 122
Black Hole in the Sky, Total Eclipse Under the Ground: Apichatpong Weerasethakul and the Ontological Turn of Cinema Seung-Hoon Jeong 140
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Add Dekalog 4: On East Asian Filmmakers, East Asian cinema has become a worldwide phenonemon, and directors such as Park Chan-wook, Wong Kar Wai, and Takashi Miike have become household names. Dekalog 4: On East Asian Filmmakers solicits scholars from Japan, Hong Kong, Switzerland, North , Dekalog 4: On East Asian Filmmakers to the inventory that you are selling on WonderClubX
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Add Dekalog 4: On East Asian Filmmakers, East Asian cinema has become a worldwide phenonemon, and directors such as Park Chan-wook, Wong Kar Wai, and Takashi Miike have become household names. Dekalog 4: On East Asian Filmmakers solicits scholars from Japan, Hong Kong, Switzerland, North , Dekalog 4: On East Asian Filmmakers to your collection on WonderClub |