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Abstract

Exile, whether geographical or metaphorical, was one of the most important sources of creative inspiration during the twentieth century. In Reflections on Exile and Other Essays, Edward Said presented the three stages of exile: In the first stage, the exile longs for the geographical home from which he is estranged, which he feels is the sweetest place on the earth; in the second stage, the exile’s expansive humanitarian spirit learns to regard the whole world as home; and in the third stage, the exile comes to regard the whole world as a foreign place. Only then does he achieve the critical detachment necessary for the uniqueness of creative vision.1

Keywords

Cultural Revolution Vagabond State Historical Violence Socialist Past Critical Detachment 
These keywords were added by machine and not by the authors. This process is experimental and the keywords may be updated as the learning algorithm improves.

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Notes

  1. 1.
    Edward Said, Reflections on Exile and Other Essays (Harvard: Harvard University Press, 2002), 366.Google Scholar
  2. 2.
    Jean-Luc Comolli and Jean Narboli, “Technique and Ideology: Camera, Perspective, Depth of Field,” in Movies and Methods, ed. Bill Nichols (Berkeley: University of California Press, 1985) 22–30.Google Scholar
  3. 3.
    See Ackbar Abbas, Hong Kong: Culture and the Politics of Disappearance (Minneapolis: University of Minnesota Press, 1997).Google Scholar
  4. 4.
    Robert Stam, Robert Burgoyne, and Sandy Flitterman-Lewis, New Vocabularies in Film Semiotics: Structuralism, Poststructuralism, and Beyond (London: Routledge, 1992), x.Google Scholar
  5. 6.
    See Ferdinand de Saussure, Course in General Linguistics, trans. Wade Baskin (New York: McGraw Hill, 1966).Google Scholar
  6. 7.
    See Charles Sanders Pierce, Collected Papers, ed. Charles Hartshorne and Paul Weiss, (Cambridge, MA: Harvard University Press, 1931).Google Scholar
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    See Jacques Derrida, Of Grammatology (Baltimore, MD: Johns Hopkins University Press, 1966), and Writing and Difference (Chicago: University of Chicago Press, 1978) and Disseminations (Chicago: University of Chicago Press, 1981).Google Scholar
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    Christian Metz, Film Language: A Semiotics of the Cinema (New York: Oxford University Press, 1971) 66.Google Scholar
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    See Vladimir Propp, Morphology of the Folk Tale (Austin: University of Texas Press, 1968).Google Scholar
  10. 15.
    See Gerard Genette, Palimpsests: Literature in the Second Degree. Translated by Channa Newman and Claude Doubinsky (Nebraska: University of Nebraska Press, 2009).Google Scholar
  11. 17.
    Laury Mulvey, “Visual Pleasure and Narrative Cinema,” Screen 16, no. 3 (Autumn 1975): 1.CrossRefGoogle Scholar
  12. 19.
    See Mary Ann Doanne, The Desire to Desire (Bloomington: Indiana University Press, 1987).CrossRefGoogle Scholar
  13. 21.
    See Peter Wollen, Signs and Meaning in the Cinema (Bloomington: Indiana University Press, 1972).Google Scholar
  14. 22.
    See Roland Barthes, Camera Lucida (New York: Hill and Wang, 1981).Google Scholar
  15. 23.
    See Bertolt Brecht, Brecht on Theatre, trans. John Willett (New York: Hill & Wang, 1964).Google Scholar
  16. 24.
    See Gerard Genette, Palimpsestes: La Littérature au Second Degré (Paris: Seuil, 1976).Google Scholar

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© Hong Zeng 2012

Authors and Affiliations

  • Hong Zeng

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