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. <>. Downloaded from Bloomsbury Collections, www.bloomsburycollections.com, 30 September 2021, 22:31 UTC. Copyright © Felicia Chan 2017. You may share this work for non-commercial purposes only, provided you give attribution to the copyright holder and the publisher, and provide a link to the Creative Commons licence. 193 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 99781780767222ind_p193-204.indd781780767222ind_p193-204.indd 119393 33/6/2017/6/2017 88:49:22:49:22 PPMM 194 Index 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 99781780767222ind_p193-204.indd781780767222ind_p193-204.indd 119494 33/6/2017/6/2017 88:49:22:49:22 PPMM 195 Index 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 99781780767222ind_p193-204.indd781780767222ind_p193-204.indd 119595 33/6/2017/6/2017 88:49:22:49:22 PPMM 196 Index 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 99781780767222ind_p193-204.indd781780767222ind_p193-204.indd 119696 33/6/2017/6/2017 88:49:22:49:22 PPMM 197 Index 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