Deadline: 23 March 2012
The existing corpus of literature surrounding Asian cinema has addressed the discourses of globalization, nationalism, orientalism, post-colonialism, and the dichotomies between global, national, and regional cinemas. Recently what has become evident though is the recognition of Hong Kong Cinema as a major player outside Asia and its deepening relationship with Hollywood, and the emergence of Bombay Cinema (or Bollywood to use the moniker) as a new cultural and market force that is still trying to reposition itself in the pantheon of global cinema.
What is missing in the field is a reader that explores the Hong Kong and Bombay cinemas as two paradigmatic urban-centered cinemas through an inter-Asian lens and discusses their commonalities and differences along the circuits of the sacred and profane; unique genres; histories and politics; culture, emotion and affect; aesthetics; and socio-linguistics. We are compiling a reader on contemporary Hong Kong and Bollywood, documenting the emergence of the ‘New’ even as the ‘Old’ informs it. We encourage scholarly contributions from multidisciplinary perspectives.
Some possible topics include but are not limited to:
• Cinematic vocabularies in constructing the politics, society, and economy of Hong Kong and Bombay;
• Postcolonial Hong Kong and Bombay cinemas as allegories of national histories and local memories, and as visual transmitters of state-building and communal empowerment;
• Dharma, karma, and guanxi as the juxtaposition of divine and secular justice, and the reconstruction of Hindu mythology and Confucian ritualism;
• Cinematic representations of state and civil society, the underworld and the informal economy, vigilantism and terrorism;
• Cinematic exploration of the structures of feeling such as patriotism, class consciousness, urbanism, alienation, assimilation, memory, nostalgia;
• The role of film festivals in globalizing mainstream and independent cinemas from Hong Kong and Bombay;
• Cinematic appropriation, elaboration, inspiration, and plagiarism in the cultural flows between Hollywood, Hong Kong, and Bollywood; • Critical pedagogies involved in using Hong Kong and Bollywood films for classroom instruction and the issue of translatability.
Articles should be around 6,000-7,000 words in length with references. Please send abstracts or enquiries to Drs. Satish Kolluri (skolluri@pace.edu) and Joseph Tse-Hei Lee (jlee@pace.edu) at Pace University in New York, U.S.A. The deadline for abstract submission is March 23, 2012 and contributors are expected to submit full papers by September 1, 2012.
CONTACT INFORMATION:
For inquiries: skolluri@pace.edu, jlee@pace.edu
For submissions: skolluri@pace.edu, jlee@pace.edu
The existing corpus of literature surrounding Asian cinema has addressed the discourses of globalization, nationalism, orientalism, post-colonialism, and the dichotomies between global, national, and regional cinemas. Recently what has become evident though is the recognition of Hong Kong Cinema as a major player outside Asia and its deepening relationship with Hollywood, and the emergence of Bombay Cinema (or Bollywood to use the moniker) as a new cultural and market force that is still trying to reposition itself in the pantheon of global cinema.
What is missing in the field is a reader that explores the Hong Kong and Bombay cinemas as two paradigmatic urban-centered cinemas through an inter-Asian lens and discusses their commonalities and differences along the circuits of the sacred and profane; unique genres; histories and politics; culture, emotion and affect; aesthetics; and socio-linguistics. We are compiling a reader on contemporary Hong Kong and Bollywood, documenting the emergence of the ‘New’ even as the ‘Old’ informs it. We encourage scholarly contributions from multidisciplinary perspectives.
Some possible topics include but are not limited to:
• Cinematic vocabularies in constructing the politics, society, and economy of Hong Kong and Bombay;
• Postcolonial Hong Kong and Bombay cinemas as allegories of national histories and local memories, and as visual transmitters of state-building and communal empowerment;
• Dharma, karma, and guanxi as the juxtaposition of divine and secular justice, and the reconstruction of Hindu mythology and Confucian ritualism;
• Cinematic representations of state and civil society, the underworld and the informal economy, vigilantism and terrorism;
• Cinematic exploration of the structures of feeling such as patriotism, class consciousness, urbanism, alienation, assimilation, memory, nostalgia;
• The role of film festivals in globalizing mainstream and independent cinemas from Hong Kong and Bombay;
• Cinematic appropriation, elaboration, inspiration, and plagiarism in the cultural flows between Hollywood, Hong Kong, and Bollywood; • Critical pedagogies involved in using Hong Kong and Bollywood films for classroom instruction and the issue of translatability.
Articles should be around 6,000-7,000 words in length with references. Please send abstracts or enquiries to Drs. Satish Kolluri (skolluri@pace.edu) and Joseph Tse-Hei Lee (jlee@pace.edu) at Pace University in New York, U.S.A. The deadline for abstract submission is March 23, 2012 and contributors are expected to submit full papers by September 1, 2012.
CONTACT INFORMATION:
For inquiries: skolluri@pace.edu, jlee@pace.edu
For submissions: skolluri@pace.edu, jlee@pace.edu
