Special Issue on “From Diasporic Cinemas to Sinophone Cinemas”
Guest Editors: Audrey Yue and Olivia Khoo
From the critical and popular acclaim of Ang Lee’s Crouching Tiger Hidden Dragon (2000) to the Asian Australian success of Tony Ayres’s The Home Song Stories (2007), diasporic Chinese cinemas have created new filmic sites and visual practices that engage the complex relations between the constructs of China, Chinese and Chineseness. While the notion of diaspora has broadened these concepts to new areas and new objects of inquiry, Chineseness remains largely a question of ethnicity, bound to nationality.
In Visuality and Identity: Sinophone Articulations Across the Pacific, Shu-mei Shih (2007) invokes the notion of the Sinophone to respond to the expiry date of the Chinese diaspora as second and third generations become more localized. As a critical concept, the Sinophone removes the emphasis on ethnicity and nationality, and instead highlights communities of Sinitic language cultures spoken and used åoutside China and on the margins of China and Chineseness©˜. The Sinophone network connects new visualities and communities that have emerged as a result of global capitalism; it critiques home and host cultures, reflecting multi-accented, multilingual histories of transnational migration.
This special issue, edited by Audrey Yue and Olivia Khoo, focuses on the new cinemas emanating from the Sinophone network, and is scheduled for publication in early 2012. The editors of the special issue now invite abstract submissions of 250-300 words on any of the following aspects:
°? the political economy of Sinophone film production, distribution,
consumption and regulation;
°? cinematic practices of Sinophone resistance, complicity and
transformation;
°? Sinophone communities as sites of cultural production;
°? new Sinophone visual economies and cultures;
°? examples of multilingual, multidialect or multi-accented Sinophone cinema
in their historical, social or cultural contexts;
°? comparative Sinophone film studies;
°? papers in defense of diasporic Chinese cinema frameworks and critiquing the Sinophone model.
Each abstract should:
°§ include your name, email and postal address, and institution;
°§ offer a summary of how your proposed essay engages the critical framework of Sinophone cinema.
Important dates:
°§ Deadline for abstract submissions: 1 December 2010
°§ Acceptance notice: 15 January 2011
°§ Deadline for paper (6000-8000 words) submission: 1 June 2011
Abstract submissions (as word documents by email attachment) to: Audrey Yue (University of Melbourne, Australia): aisy@unimelb.edu.au
Contact for journal information: Song Hwee Lim (Chief Editor, Journal of Chinese Cinemas): S.H.Lim@exeter.ac.uk
More information here.
Guest Editors: Audrey Yue and Olivia Khoo
From the critical and popular acclaim of Ang Lee’s Crouching Tiger Hidden Dragon (2000) to the Asian Australian success of Tony Ayres’s The Home Song Stories (2007), diasporic Chinese cinemas have created new filmic sites and visual practices that engage the complex relations between the constructs of China, Chinese and Chineseness. While the notion of diaspora has broadened these concepts to new areas and new objects of inquiry, Chineseness remains largely a question of ethnicity, bound to nationality.
In Visuality and Identity: Sinophone Articulations Across the Pacific, Shu-mei Shih (2007) invokes the notion of the Sinophone to respond to the expiry date of the Chinese diaspora as second and third generations become more localized. As a critical concept, the Sinophone removes the emphasis on ethnicity and nationality, and instead highlights communities of Sinitic language cultures spoken and used åoutside China and on the margins of China and Chineseness©˜. The Sinophone network connects new visualities and communities that have emerged as a result of global capitalism; it critiques home and host cultures, reflecting multi-accented, multilingual histories of transnational migration.
This special issue, edited by Audrey Yue and Olivia Khoo, focuses on the new cinemas emanating from the Sinophone network, and is scheduled for publication in early 2012. The editors of the special issue now invite abstract submissions of 250-300 words on any of the following aspects:
°? the political economy of Sinophone film production, distribution,
consumption and regulation;
°? cinematic practices of Sinophone resistance, complicity and
transformation;
°? Sinophone communities as sites of cultural production;
°? new Sinophone visual economies and cultures;
°? examples of multilingual, multidialect or multi-accented Sinophone cinema
in their historical, social or cultural contexts;
°? comparative Sinophone film studies;
°? papers in defense of diasporic Chinese cinema frameworks and critiquing the Sinophone model.
Each abstract should:
°§ include your name, email and postal address, and institution;
°§ offer a summary of how your proposed essay engages the critical framework of Sinophone cinema.
Important dates:
°§ Deadline for abstract submissions: 1 December 2010
°§ Acceptance notice: 15 January 2011
°§ Deadline for paper (6000-8000 words) submission: 1 June 2011
Abstract submissions (as word documents by email attachment) to: Audrey Yue (University of Melbourne, Australia): aisy@unimelb.edu.au
Contact for journal information: Song Hwee Lim (Chief Editor, Journal of Chinese Cinemas): S.H.Lim@exeter.ac.uk
More information here.
