This is the first edited volume dedicated to the study of East Asian-German cinema from 1919 to the present. It reveals German perceptions of East Asia and East Asian perceptions of Germany through analysis of feature films, essay films and documentaries by both German and East Asian directors.
This is the first edited volume dedicated to the study of East Asian-German cinema from 1919 to the present. It reveals German perceptions of East Asia and East Asian perceptions of Germany through analysis of feature films, essay films and documentaries by both German and East Asian directors.
Joanne Miyang Cho is Professor of History at William Paterson University.
Inhaltsangabe
1. German Cinema, German Hybrid Cinema, and Organization Part 1: Film Adaptations and Representations of the German-East Asian Relationship, 1919-1945 2. Implicating Buddhism in Madame Butterfly's Tragedy: Japonisme and Japan-Bashing in Fritz Lang's Harakiri (1919) 3. The Familiar Unfamiliar: Japan in Interwar German Feature Films 4. A Loving Family (Ai no ikka, 1941). The Transcultural Film Adaptation of a Classic German Children's Book in Wartime Japan 5. Documentaries about Jewish Exiles in Shanghai: Witness Testimony and Cross-Cultural Public Memory Formation Part 2: Representations of Gender in the 1950s and 1960s: Asian Femininity and Idealized Masculinity 6. A Façade of Solidarity: East Germany's Attempted Dialogue with China in The Compass Rose (Die Windrose, 1957) 7. The World(s) of Anna Suh: Race, Migration, and Ornamentalism in Bis zum Ende aller Tage (Until the End of Days, 1961) 8. Idealized Masculinity, National Identity, and the Other: The James Bond Archetype in German and Japanese Spy Fiction Part 3: Cultural Globalization and the Persistence of the Popular Since the 1970s 9. China's Encounter with Mozart in Two Films: From Musical Modernity to Cultural Globalization 10. The Persistence of the Popular: The Cinemas of National Division in Germany and Korea Part 4: East Asian-German Entanglements Since the 1980s 11. Temporal Structures & Rhythms in Wenders' Tokyo-Ga (1985) and Ottinger's The Korean Wedding Chest (2009) 12. My Own Private Tokyo: The Japan Features of Doris Dörrie 13. Claiming Cultural Citizenship: East Asian-German Presence on YouTube and Public Television's www.funk.net
1. German Cinema, German Hybrid Cinema, and Organization Part 1: Film Adaptations and Representations of the German-East Asian Relationship, 1919-1945 2. Implicating Buddhism in Madame Butterfly's Tragedy: Japonisme and Japan-Bashing in Fritz Lang's Harakiri (1919) 3. The Familiar Unfamiliar: Japan in Interwar German Feature Films 4. A Loving Family (Ai no ikka, 1941). The Transcultural Film Adaptation of a Classic German Children's Book in Wartime Japan 5. Documentaries about Jewish Exiles in Shanghai: Witness Testimony and Cross-Cultural Public Memory Formation Part 2: Representations of Gender in the 1950s and 1960s: Asian Femininity and Idealized Masculinity 6. A Façade of Solidarity: East Germany's Attempted Dialogue with China in The Compass Rose (Die Windrose, 1957) 7. The World(s) of Anna Suh: Race, Migration, and Ornamentalism in Bis zum Ende aller Tage (Until the End of Days, 1961) 8. Idealized Masculinity, National Identity, and the Other: The James Bond Archetype in German and Japanese Spy Fiction Part 3: Cultural Globalization and the Persistence of the Popular Since the 1970s 9. China's Encounter with Mozart in Two Films: From Musical Modernity to Cultural Globalization 10. The Persistence of the Popular: The Cinemas of National Division in Germany and Korea Part 4: East Asian-German Entanglements Since the 1980s 11. Temporal Structures & Rhythms in Wenders' Tokyo-Ga (1985) and Ottinger's The Korean Wedding Chest (2009) 12. My Own Private Tokyo: The Japan Features of Doris Dörrie 13. Claiming Cultural Citizenship: East Asian-German Presence on YouTube and Public Television's www.funk.net
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