Abstract
The global popularity of films from East Asia has drawn critical attention to the overlapping territories of national and transnational cinemas. The phenomenal success of East Asia’s popular cultural products in capturing Asian and Western markets has prompted critical rethinking of the epistemology of “Asian culture” and the geopolitical importance of the region as an intermediary between the local and the global.1 Meanwhile, an expanding body of critical writings on non-Western national cinemas has shown that filmmaking has been a site where indigenous aesthetic traditions are brought into productive dialogues with Western norms. In the last ten years or so, the cinemas of East Asia, if not Asia as a whole, have been the subject of numerous books and anthologies. Whether focusing on specific national cinemas or adopting a more “pan-Asian” and transnational approach, these works have underscored the cross-cultural and interdisciplinary thrust in contemporary scholarship.2 To this must be added the increasing attention to the interconnections between cinema and the political economy of the region’s cultural industries and mass media.3 To the extent that “East Asian cinemas”denotes a regional configuration of film art and practices, the term is also infused with the cultural politics and imagination of”East Asia” as an “idea in process, “ for, as Hunt and Leung argue, East Asian cinemas’ “mutating currencies of transnationality” indicate a globalism more complex and unstable than “Hollywoodization”or “Americanization”.4 Rather than designating a homogenous, free-standing regional cinema, this understanding of East Asian cinemas refers to a mutating network of film practices at the intra- and inter-regional levels.
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© 2011 Vivian P. Y. Lee
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Lee, V.P.Y. (2011). Introduction: Mapping East Asia’s Cinemascape. In: Lee, V.P.Y. (eds) East Asian Cinemas. Palgrave Macmillan, London. https://doi.org/10.1057/9780230307186_1
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DOI: https://doi.org/10.1057/9780230307186_1
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