Chan, Felicia. "Index." Cosmopolitan Cinema: Cross-Cultural Encounters in East Asian Film. London • New York: I.B.Tauris, 2017. 193–204. Bloomsbury Collections. Web. 30 Sep. 2021. <>.
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Index
Note: Page numbers in italics refer to images.
2.28 incident, 48 audiences, 94 – 5 , 122 – 3 , 145 15 , 110 , 111 Austin, J. L., 70 24 City , 59 – 68 Austin, Th omas, 60 – 1 , 63 – 4 2046 , 30 , 33 , 36 , 50 auteur cinema, 8 , 40 – 1 , 111 autoethnographer- performer, 133 Abbas, Ackbar, 30 a w a r d s , 2 5 – 6 a ff ect, 17 , 94 , 95 – 6 , 97 , 101 , 118 a ff ective encounter, 94 Bachelard, Gaston, 104 , 105 a ffi rmative criticality, 142 Baecker, Angie, 124 , 139 Aft er Chinatown , 130 – 1 Bal, Le , 26 Ahmad, Yasmin, 111 Balfour, Ian, 40 , 52 Ahmed, Sara, 123 , 136 banned fi lms, 58 – 9 , 110 Allen, Richard, 120 – 1 Bauman, Zygmunt, 7 – 8 , 9 Allen, Woody, 10 Be With Me , 2 5 – 6 Almodóvar, Pedro, 39 Béhar, Henri, 39 Always in My Heart / Kimi no Behind the Forbidden City , 110 nawa , 81 , 83 ‘Bengawan Solo’, 32 Ampo demonstrations, 83 Benjamin, Walter, 10 , 133 Andersen, Joseph, 22 – 3 benshi narrators, 21 – 4 Anderson, Benedict, 100 Bergfelder, Tim, 11 Anderson, Kay, 130 Bergman, Ingrid, 73 , 75 , 125 animation Berlant, Laurent, 109 , 118 , 143 cinematic movement, 86 – 7 Berry, Chris, 60 dubbing and subtitling, 38 – 47 Bertolucci, Bernardo, 65 , 74 history of, 87 , 90 Better Tomorrow, A , 35 self- refl exivity and (animated) Betz, Mark, 40 , 44 form, 77 – 91 bilingualism, 27 , 53 anime , 40 , 77 – 8 , 86 – 7 , 89 – 90 Black Arts movement, 127 Annie Hall , 10 blackface, 128 , 129 Appadurai, Arjun, 2 – 3 Board of Film Censors, 105 art, 12 – 13 , 142 bodies arthouse cinema, 26 , 39 , 51 , 115 , 116 cosmopolitan body, 136 – 40 Atanarjuat: Th e Fast Runner , 25 fl âneur/ fl âneuse , 136 193
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bodies (cont.) China gallery bodies and fi lms, 120 – 3 24 City , 58 – 9 , 60 , 61 , 63 see also embodiment Aft er Chinatown , 131 border- crossings, 5 , 6 – 7 , 13 , 47 censorship, 110 Bordwell, David, 14 Lust, Caution , 69 , 70 , 73 , 74 , 76 Bourdieu, Pierre, 24 multilingual cinema, 21 , 24 , 27 , 36 Breakwell, Ian, 95 – 6 self- refl exive memory and Bullet in the Head , 50 performance, 69 , 70 , 73 , 74 , 76 self- refl exive memory and witness, camera obscura , 66 58 – 9 , 60 , 61 , 63 Cameron, James, 11 Chinatown , 126 – 7 , 130 , 131 , 132 Canadian cinema, 25 , 111 Chinatowns, 105 – 6 , 116 , 130 , 134 Cannes Film Festival, 25 , 50 , 110 Chinese cinema, 4 , 8 , 10 , 21 , 24 , 26 – 7 , Cantonese- language cinema, 10 , 34 – 6 , 39 , 138 27 – 32 , 34 – 6 , 38 , 75 Chinese dress, 74 , 75 Canudo, Ricciotto, 14 Chinese Exclusion Act, 130 carnal encounter, 136 Chinese immigrants, 130 – 1 Cathay Organisation, 31 , 107 Chineseness cel animation, 77 , 78 , 79 , 85 , 87 Chinese dress, 75 censorship, 58 – 9 , 110 embodiment, 127 , 131 Chan, Fruit, 27 Hong Kong cinema, 26 – 7 , 29 Chan, Jackie, 32 Lust, Caution , 69 Chan, Kenneth, 108 – 9 self- refl exive memory and Chan, Peter, 27 performance, 69 , 75 Chandler, David, 18 – 19 Singapore Chinatown, 106 Chaney, David, 96 Chow, Rey, 17 , 29 , 30 , 37 – 8 , 53 Chang, Eileen, 69 , 70 Chua Beng Huat, 36 Chang Tseng, 65 Chungking Express , 27 , 28 , 132 Chang, Yen- Jung, 85 cinema Chaplin, Charlie, 48 attraction of, 3 – 4 Cheah, Pheng, 1 – 2 , 13 border- crossings, 6 – 7 Cheah, Philip, 108 , 116 buildings, 4 , 136 Chen Jianbin, 65 cinema of attractions, 21 , 101 Chen, Joan (Chen Chong), 65 , 66 , 67 , 76 cinematic illusion, 66 Chen, Leo Chanjen, 48 – 9 , 51 cinematic language, 11 Chengdu, 60 , 68 cinematic movement, 86 – 7 cheongsam (Chinese dress), 74 classical cinema, 12 , 14 Cheung, Leslie, 50 comparative cinema, 141 – 7 Cheung, Mabel, 27 context of fi lm, 92 Cheung, Maggie, 28 – 9 , 32 , 50 , 125 as cultural power, 15 – 16 Chew, Matthew, 74 cultural proximity/ distance, Children of a Lesser God , 48 7 – 8 , 37 , 47 194
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cultural translation, 9 – 10 ‘cosmopolitan paradox’, 19 form, production and cosmopolitanism reception, 16 – 17 attraction of, 2 – 3 historical origins, 6 , 20 , 24 and the cinema, 1 – 17 and memory, 56 – 7 cinema and border- crossings, 6 – 7 politics of the ‘foreign fi l m ’, 8 – 9 cinema form, production and self- refl exive memory, 62 – 3 , reception, 16 – 17 66 , 68 , 72 cinematic language, 11 stillness and movement, 62 – 3 critical cosmopolitanism and technology, 14 – 15 , 120 , 121 comparative cinema, 141 – 7 t e m p o r a l i t y , 6 3 cultural proximity/ distance, 7 , 37 , 47 textuality, 7 , 14 cultural relations, 6 Cinema Babel , 40 cultural translation, 9 – 10 Cinema Paradiso , 105 defi nitions, 1 – 3 cinesthesia, 120 , 136 – 7 imagined worlds, 12 – 13 citizenship, 18 , 143 , 144 inherent tensions, 4 – 5 City of Sadness, A , 48 – 52 lure of cinema, 3 – 4 city spaces, 103 – 4 and multiculturalism, 18 – 19 classical cinema, 12 , 14 ontological confl ict, 17 classifi cation systems, 110 , 115 – 16 politics of the ‘foreign fi l m ’, 8 – 9 Cold Fever , 101 – 2 , 103 self- refl exivity, 2 collective memory, 57 , 61 textuality of cinema, 7 collectivities, 5 , 6 ‘Country Roads’, 45 , 46 , 47 colonialism, 3 , 29 – 30 , 134 critical cosmopolitanism, 141 – 7 comparative cinema, 141 – 7 Crothers Dilley, Whitney, 69 , 70 ‘Concrete Road’, 42 , 43 Crouching Tiger, Hidden Dragon, Conformist, Th e , 74 32 , 145 Cooper- Chen, Anne, 41 cruel optimism, 118 , 143 cosmopolis, 96 Cubitt, Sean, 77 , 144 – 5 cosmopolitan aff ect, 92 – 118 cultural capital, 6 , 103 cultural literacy, 111 – 17 cultural literacy, 91 , 100 , 111 – 17 , 145 fi lm festivals, 97 , 102 , 113 cultural memory, 65 , 91 overview, 117 – 18 cultural proximity/ distance, 7 , 37 , 47 cosmopolitan agency, 12 cultural relations, 6 cosmopolitan body, 136 – 40 Cultural Revolution, 29 cosmopolitan cinema cultural translation, 9 – 10 cultural translation, 9 – 10 cultural trauma, 57 defi ning, 16 – 17 cultures, 18 , 53 , 146 imagined worlds, 12 – 13 cuts to fi lms, 110 , 116 cosmopolitan encounters, 96 , 99 cosmopolitan geographies, 129 – 36 Dargis, Manohla, 61 cosmopolitan memory, 57 – 8 , 91 Days of Being Wild , 29 , 33 195
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Death in Venice , 126 fi lmic encounters, 100 – 3 Delanty, Gerard, 141 , 142 spatial encounters, 103 – 11 Denver, John, 42 , 43 , 44 , 46 , 47 English dubbing, 40 , 42 , 43 Denzin, Norman, 133 English language, 30 , 53 Deren, Maya, 123 English subtitling, 10 , 11 , 34 , 35 , 37 , Derrida, Jacques, 37 , 38 42 , 139 di Caprio, Leonardo, 11 ersatz cinema, 126 diff erence, 8 , 18 , 102 , 141 , 142 Escape to Happiness , 73 Disney, 77 – 8 , 87 Eu Tong Sen, 106 documentary, 61 , 64 Every Frame a Painting , 86 Doktor Rushdi , 138 , 139 exile, 5 Dreamworks, 25 dress, 74 , 75 Fallen Angels , 28 dual- language shooting, 19 fantasy, 12 , 85 dubbing f e s t i v a l s see fi lm festivals cultural translation, 9 – 10 ‘ fi ctionalised documentary’, 58 , 59 , 61 , 64 Hong Kong cinema, 28 , 34 , 35 , 36 Filem-Filem- Filem , 136 Japanese animation, 38 – 47 fi lm classifi cation, 10 , 115 – 16 multilingual cinema, 24 – 5 , 52 fi lm festivals and subtitling, 44 and cosmopolitan aff ect, 92 – 118 Whisper of the Heart , 4 0 – 7 cultural literacy, 111 – 17 Dumont, Bruno, 115 cultural memory, 65 Dunaway, Faye, 126 , 127 , 128 festival circuit, 101 , 102 f e s t i v a l fi lms, 103 East Palace, West Palace , 110 festival gazes, 111 , 112 Edinburgh Film Festival, 93 , 98 , 112 festival histories, 93 Egoyan, Atom, 40 , 52 fi lmic encounters, 100 – 3 Eisenstein, Sergei, 77 , 78 historical origins of cinema, 20 Eleft heriotis, Dimitris, 6 , 8 overview, 92 – 100 , 117 – 18 embodiment spatial encounters, 103 – 11 cinema form, production and Film Four, 40 , 41 reception, 17 fi lm- induced tourism, 101 cosmopolitan body, 136 – 40 fi lm industry, 8 , 15 – 16 cosmopolitan geographies, 129 – 36 Film Socialisme , 10 embodiment and encounter, 123 – 9 fi lmic encounters, 100 – 3 embodiment as encounter, 119 – 40 fl âneur /fl âneuse , 132 , 133 gallery bodies and fi lms, 120 – 3 fl ashbacks, 56 , 64 , 79 overview, 119 – 20 foreign fi lm encounters cultural relations, 6 cosmopolitan aff ect, 96 , 99 cultural translation, 9 – 10 critical cosmopolitanism, 144 multilingual cinema, 20 , 25 – 6 , 36 , embodiment and encounter, 123 – 9 39 , 52 , 53 196
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ontological confl ict, 17 24 City , 64 , 66 politics of, 8 – 9 cosmopolitan geographies, 129 foreignness, 8 – 9 , 23 – 4 , 36 Lust, Caution , 76 formalism, 55 , 77 Millennium Actress , 78 , 80 , 89 Four Malay Stories , 134 , 137 , 139 self- refl exive memory, 11 , 57 , Fowler, Catherine, 123 , 125 64 , 66 , 76 French language, 24 – 5 self- refl exivity and (animated) form, Freud, Sigmund, 55 – 6 , 63 78 , 80 , 89 Fu, Poshek, 4 , 10 , 72 Hitchcock, Alfred, 73 , 74 Fuji- kan, 24 Hjort, Mette, 100 Fujiki, Hideaki, 22 , 23 HKIFF (Hong Kong International Film full animation, 87 Festival), 95 Hollywood, 4 , 8 , 11 , 16 , 38 , 72 , 74 , 75 gallery bodies, 120 – 3 Holocaust, 57 – 8 gallery fi lms, 120 – 3 Hong Kong Galperin, William, 126 cosmopolitan geographies, 132 , 133 gaze, 74 , 90 , 112 fi lm festivals, 115 geographies, 129 – 36 kung fu comedies, 40 G h i b l i see Studio Ghibli multilingual cinema, 24 , Ghost in the Shell , 86 26 – 38 , 40 , 50 Glick Schiller, Nina, 3 ‘new wave’ cinema, 32 ‘global’ cinema, 6 , 144 and old Shanghai, 75 – 6 globalisation, 12 , 13 , 103 , 143 politics of the ‘foreign fi lm’, 8 Godard, Jean-Luc, 10 Honna, Youko, 47 Golden Harvest studio, 32 Hou Hsiao- Hsien, 49 , 50 , 51 , 52 Good Earth, Th e , 128 How to Do Th ings with Words , 70 Goodbye, Dragon Inn , 108 Howl’s Moving Castle , 41 Goodman, Nelson, 13 Hozic, Aida, 16 Grandmaster, Th e , 50 Hu Die, 75 Grant, Cary, 73 Hugo , 105 Great Sichuan Earthquake, 68 Hunter, Holly, 48 Gregg, Melissa, 96 , 101 , 118 , 119 Huston, John, 128
Hammond, Paul, 95 – 6 Ibu Mertua Ku / My Hansen, Miriam, 14 Mother- in- Law , 137 Happy Together , 116 Iceland, 101 – 2 , 103 , 111 haptic visuality, 122 imagination, 12 – 13 , 144 Hara, Setsuko, 80 imagined communities, 16 , 99 – 100 Harbord, Janet, 93 imitation, 137 , 140 Hartley, Hal, 111 Imitation of Life , 124 , 140 Hirasawa, Susumu, 85 , 88 immigration, 130 – 1 history In Love for the Mood , 125 , 139 197
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In the Mood for Love , 2 8 , 3 2 – 3 , 33 , 50 , Konfrontasi , 138 124 , 125 Kong, Lily, 106 In the Realm of the Senses , 110 Koreeda, Hirozaku, 94 Indonesia, 138 – 9 Krishtalka, Sholem, 128 , 129 induced movement, 87 Kuala Lumpur, 138 , 139 inter- titles, 20 kung fu comedies, 40 intercultural equivalence, 53 Kurosawa, Akira, 80 , 81 Interdisciplinary Literary Studies , 11 Kwan, Stanley, 27 Intermezzo: A Love Story , 73 intertextuality, 61 , 72 , 85 La Salle Brothers, 134 Iordanova, Dina, 100 Labu dan Labi , 137 Iranian cinema, 102 Lady From Shanghai, Th e , 131 Irving, Andrew, 3 Lai Chee Kien, 33 , 34 Ito, Robert, 128 L a m a r r e , Th omas, 78 , 85 – 6 , 87 , 89 Iveković, Rada, 54 languages cinematic language, 11 J a ff ee, Valerie, 58 , 59 cultural translation, 4 , 9 – 10 Jamieson, Kirstie, 98 , 111 , 112 , 113 dubbing and subtitling, 25 – 6 , Japan, 21 – 4 , 77 – 8 , 80 , 85 , 87 , 89 34 – 6 , 38 Japanese animation historical origins of cinema, 20 , 24 anime , 40 , 77 – 8 , 86 – 7 , 89 – 90 Hong Kong cinema, 28 – 32 , 34 – 6 , 38 dubbing and subtitling, 38 – 47 multilingual cinema, 19 , 37 – 8 , 53 , 76 history of, 87 , 90 sound and muteness, 48 self- refl exivity and (animated) form, vying availability of, 30 7 7 – 8 , 8 6 – 7 Last Emperor, Th e , 65 Japanese language, 28 Late Spring , 80 , 81 Jia Zhangke, 58 , 59 , 61 , 63 , 64 , 65 , 67 Lau, Andy, 50 jishizhuyi (‘on- the- spot realism’), 60 Laurel and Hardy fi lms, 19 Johnson, G. Allen, 61 , 64 learning, 141 , 142 Lee, Ang, 69 , 72 , 144 Kabuki, 23 Lee, Bruce, 32 Kaneshiro, Takeshi, 28 Lee Kang-sheng, 48 Kaplan, E. Ann, 57 Lee, Leo Ou-fan, 69 Kawase, Naomi, 111 Leung Chiu- wai, Tony, 30 , 32 , 48 , 50 , Khoo, Eric, 111 , 116 69 , 125 Kiarostami, Abbas, 111 Levy, Daniel, 57 , 58 , 68 Kim Ki- duk, 111 LGBTQ fi lm festivals, 93 Kimi no nawa / What Is Your Liao, Hsien-hao Sebastian, 71 Name? ), 81 , 83 Life of Imitation , 123 , 124 , 124 , 125 , Kon, Satoshi, 85 , 86 , 91 134 , 137 Kon-Tiki , 19 Life of Jesus, Th e , 115 Kondo, Yoshifumi, 41 liminal space, 9 198
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liminality of aff ect, 96 Millennium Actress , 78 , 79 , 91 limited animation, 87 , 88 , 90 overview, 55 – 8 Lin Ching- hsia, Brigitte, 132 screen memory, 55 Lin, Sylvia, 48 self- refl exive cinema, 55 – 91 linguistic hybridity, 31 self- refl exive memory and literacy, 37 p e r f o r m a n c e , 6 8 – 7 6 literature, 2 , 13 self- refl exive memory and Little Flower / Xioahua , 65 , 66 – 7 witness, 58 – 68 Liverpool, 130 , 131 self- refl exivity and (animated) Lo, Kwai- cheung, 26 , 29 , 34 – 5 , 36 , 38 form, 77 – 91 Lobato, Ramon, 16 Merdeka Film Productions, 138 , 139 lok, susan pui san, 127 Meshes of the Aft ernoon , 123 Los Angeles, 24 , 130 , 132 , 133 Meskimmon, Marsha, 122 , 142 , Lu, Sheldon, 29 143 , 144 Lü Liping, 65 methodological individualism, 5 , 7 Lumière brothers, 55 , 68 , 77 Mifune, Toshiro, 80 Lust, Caution , 69 – 76 Millennium Actress , 78 – 85 , 87 , 88 – 91 Lynch, David, 66 Miller, David, 1 Minnan, 48 , 50 , 51 MacLaine, Shirley, 128 Mitchell, W. J. T., 91 Majestic theatre, 104 , 105 , 106 – 9 , 110 Miyazaki, Hayao, 41 Makhmalbaf, Mohsen, 111 , 114 modernism, 106 Making Chinatown , 128 , 131 modernity, 15 , 17 Malay cinema, 138 – 40 modes of exhibition/ reception, 122 – 3 Malay Film Productions, 138 Monnet, Liva, 86 Mandarin- language cinema, 10 , 24 , Moriel, Liora, 137 27 – 32 , 34 – 6 , 50 , 75 Morris, Meaghan, 35 , 146 Maoism, 63 , 70 movement, 86 – 7 , 88 , 90 , 144 Marks, Laura, 122 Mowitt, John, 53 Marx, Harpo, 48 Mulan Joins the Army / Mulan Mathews, Gordon, 28 Congjun , 72 Matlin, Marlee, 48 multiculturalism, 18 , 141 Mee Pok Man , 116 multilingual cinema, 18 – 54 Méliès, Georges, 55 , 77 advent of synchronised sound, 24 melodrama, 57 , 140 benshi narrators, 21 – 4 memorialisation, 58 , 68 cinema form, production and memory reception, 17 24 City , 61 , 63 – 8 cosmopolitanism and cinema and memory, 56 – 7 multiculturalism, 18 comparative cinema, 145 cultural translation, 10 lure of cinema, 3 – 4 defi ning, 19 memory politics, 57 , 58 dubbing and subtitling, 24 – 5 , 38 – 47 199
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multilingual cinema (cont.) Peary, Gerald, 95 historical origins of cinema, 20 peephole cinemas, 134 – 5 Hong Kong cinema, 26 – 38 Peng Hsiao- yen, 69 , 70 overview, 18 – 26 , 52 – 4 Penny Serenade , 73 sound and muteness, 47 – 54 performance, 69 , 70 Mulvey, Laura, 4 , 62 – 3 , 68 performance ethnography, 133 muteness, 48 , 49 performative utterances, 70 My Geisha , 128 Persona , 125 My Mother- in- Law / Ibu Mertua Petrie, Duncan, 100 Ku , 137 Piano, Th e , 48 plasmaticness, 78 , 79 narrative storytelling, 3 , 11 – 12 plastic realism, 142 nationalisms, 20 , 100 Poetics of Space, Th e , 104 Nava, Mica, 17 , 97 , 118 , 142 Polanski, Roman, 126 , 130 , 131 , 132 Neo Chon Teck, 134 Pomerance, Murray, 15 ‘new wave’ cinema, 27 , 32 , 48 P o p k e , J e ff , 136 New York Film Festival, 95 pornography, 116 , 117 , 136 Newton- John, Olivia, 47 post- colonialism, 2 , 12 , 143 Nichols, Bill, 100 , 101 , 102 Prakash, Gyan, 3 Nicholson, Jack, 126 , 127 , 128 Princess Mononoke , 41 nishiki- e (woodblock prints), 85 Private , 25 Nornes, Abé Mark, 36 , 39 , 40 Purple Rose of Cairo, Th e , 105 nostalgia, 3 – 4 , 109 , 134 Not Like a Native Speaker , 53 qipao (traditional Chinese Notorious , 74 dress), 74 , 75 Nugroho, Garin, 111 Québecois audiences, 25
o ff - screen spaces, 122 , 123 R classifi cation, 115 – 17 O ffi ce Kitano, 59 racial passing, 129 ontological confl ict, 17 , 30 racism, 130 , 131 , 132 Ortabasi, Melek, 80 , 83 Radstone, Susannah, 56 – 7 Oshima, Nagisa, 110 Rainer, Luise, 128 O’Sullivan, Carol, 40 , 53 Raise the Red Lantern , 39 Ozu, Yasujiro, 80 Ramlee, P., 137 , 138 , 139 Rapson, Jessica, 68 Palmer, Belinda, 128 realism, 55 , 60 , 64 , 77 Pan Di- hua, Rebecca, 28 , 29 , 33 reception, 122 – 3 Pang Laikwan, 21 REDCAT (Roy and Edna Disney / Papastergiadis, Nikos, 12 – 13 CalArts Th eater), 128 Parker, Andrew, 70 – 1 Rendall, Steven, 10 Parker, Trey, 90 Rich, B. Ruby, 39 , 129 passing, 129 , 137 , 140 Richie, Donald, 22
200
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Robbins, Bruce, 19 multilingual cinema, 25 , 36 , 37 Rohmer, Sax, 131 Singapore International Film Festival, Ronning, Joachim, 19 97 , 104 , 105 , 107 , 110 – 11 , 113 – 17 Ruan Lingyu, 75 Sirk, Douglas, 124 , 140 R u o ff , Jeff r e y , 9 4 Snow, Brittany, 47 Sobchack, Vivian, 64 , 119 , 136 Said, Edward, 14 , 16 , 127 s o ft core porn, 116 , 117 Sakai, Naoki, 9 , 47 sound, 20 , 23 , 24 , 48 – 9 San Francisco, 130 , 131 , 132 , 133 South Park , 90 Schamus, James, 69 – 70 spatial encounters, 103 – 11 Scott, A. O., 94 spectatorship, 4 , 10 – 11 , 122 – 3 screen memory, 55 – 6 Spencer, Robert, 2 , 143 , 144 Sedgwick, Eve Kosofsky, 70 – 1 Spirited Away , 41 , 87 Seeing in the Dark , 9 5 – 6 Spivak, Gayatri, 127 Seigworth, Gregory J., 96 , 101 , 118 , 119 Stacey, Jackie, 4 , 18 self- refl exive cinema, 55 – 91 Staiger, Janet, 14 cinema form, production and Stam, Robert, 52 reception, 17 Stevens, George, 73 cinematic language, 11 Still Life , 59 cosmopolitanism defi n e d , 2 Still Walking , 94 embodiment, 132 Stone, Matt, 90 overview, 55 – 8 , 91 Storer, Russell, 133 , 140 self- refl exive memory and ‘strangeness’, 8 – 9 , 20 , 101 , 112 p e r f o r m a n c e , 6 8 – 7 6 ‘stranger’ fi gure, 7 – 8 , 9 self- refl exive memory and Street, Sarah, 11 witness, 58 – 68 Street Angel / Malu Tianshi , 71 , 72 self- refl exivity and (animated) Stringer, Julian, 35 , 103 – 4 form, 77 – 91 Studio Ghibli, 40 , 41 , 44 , 87 Sembene, Ousmane, 111 Subtitles: On the Foreignness of Semerah Padi , 137 Film , 40 , 52 Sex and Zen , 116 subtitling Shanghai, 29 , 71 – 6 and comprehension, 11 Shanghai Film Group, 59 cosmopolitan body, 139 Shaw Brothers, 4 , 31 , 32 , 107 , 138 cultural translation, 9 – 10 Shochiku studio, 83 dubbing and subtitling practices, Shohat, Ella, 52 24 – 5 , 44 Shrek the Th ird , 25 fi lm festivals, 105 Silence, Th e , 114 Hong Kong cinema, 28 , 34 – 6 , 37 , 38 silent cinema, 20 , 24 Japanese animation, 38 – 47 Singapore multilingual cinema, 24 – 5 , 52 embodiment, 133 , 134 , 137 , 138 , 139 Whisper of the Heart , 4 2 – 7 fi lm festivals, 105 , 110 , 111 Suspicion , 73 201
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synchronised sound, 20 , 23 , 24 , 48 – 9 Ullman, Liv, 126 Sznaider, Natan, 57 , 58 , 68 Venice, 48 , 59 Tai-Pan , 65 Venuti, Lawrence, 39 Taiwan, 24 , 29 , 32 , 48 – 50 video installations, 125 , 128 , 133 , 137 ‘Take Me Home, Country Roads’, 42 , 44 visceral cosmopolitanism, 17 , 142 Tan, Royston, 110 , 111 Visconti, Luchino, 125 Tan Pin Pin, 111 Vitali, Valentina, 51 – 2 Tang Fu Kuen, 125 , 136 von Flotow, Luise, 25 Tang Wei, 69 , 72 , 73 techne , 77 ‘Wandering Songstress, Th e’ / ‘Tianya technology of cinema, 12 , 14 – 15 G e n ü ’, 7 1 – 3 temporality of cinema, 63 Wang, Yiman, 128 , 129 , 132 Teo, Stephen, 27 Weerasethakul, Apichatpong, 111 textuality, 7 , 14 , 16 Welles, Orson, 131 Th ird Cinema conference, 93 What Is Your Name? / Kimi no Th ompson, Kristin, 14 nawa , 81 , 83 Th rone of Blood , 80 , 82 , 83 Whisper of the Heart , 4 1 – 7 Tihanov, Galin, 5 , 6 , 7 Willemen, Paul, 12 , 93 , 146 Titanic , 11 – 12 Wind Rises, Th e , 41 To, Johnnie, 8 Winslet, Kate, 11 Tokyo, 42 , 78 Women on the Verge of a Nervous Toronto International Film Festival, 25 , Breakdown , 39 94 , 99 , 103 , 129 Wong, Anna May, 132 tourism, 101 , 102 Wong, Cindy, 93 , 94 , 95 , 103 , 112 Translating Popular Film , 40 , 53 Wong Kar- wai translation embodiment and encounter, and comprehension, 10 – 11 124 , 132 cultural translation, 9 – 10 fi lm festivals, 116 dubbing and subtitling, 39 – 40 , 42 , 47 Hong Kong cinema, 27 – 9 , 32 – 4 , 38 Hong Kong cinema, 28 , 38 sound and muteness, 50 – 1 Japanese animation, 39 – 40 , 42 , 47 Wong, Ming multilingual cinema, 19 , 52 , 53 Aft er Chinatown , 131 , 132 politics of the ‘foreign fi lm’, 9 cosmopolitan body, 137 , 139 , 140 trauma, 57 , 64 cosmopolitan geographies, 130 , 131 , travel, 6 , 17 , 144 132 , 133 , 134 Tribeca, 95 embodiment and encounter, 123 – 9 Tsai Ming-liang, 48 , 108 gallery bodies and fi lms, 123 Tsung- yi Huang, 133 Making Chinatown , 128 , 131 Turner Classic Movies, 40 , 41 Woo, John, 35 , 50 Turner, Graeme, 92 Workers Exiting the Lumière Factory , 68 Twin Peaks , 66 ‘world’ cinema, 6 , 8 , 20 202
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world citizenship, 18 , 144 Yuan Muzhi, 71 World, Th e , 58 , 59 Zhang Xudong, 58 Xiao, Jiwei, 63 , 64 Zhang Yimou, 39 Xiaohua / Little Flower , 65 , 66 – 7 Zhang, Yingjin, 31 Xinghui Productions, 59 Zhang Yuan, 110 Zhang Ziyi, 30 Yangtze cinema, 117 Zhao Tao, 65 yellowface, 128 , 129 , 132 , 133 Zhou, Tony, 86 Yeoh, Brenda, 106 Zhou Xuan, 71 , 75
203
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