Craziness and Carnival in Neo-Noir Chinese Cinema

1. Auflage 2021
ISBN: 978-3-030-73080-2
Verlag: Springer International Publishing

Buch, Englisch, 158 Seiten, Format (B × H): 153 mm x 216 mm, Gewicht: 343 g

Reihe: Chinese Literature and Culture in the World

Craziness and Carnival in Neo-Noir Chinese Cinema offers an in-depth discussion of the “stone phenomenon” in Chinese film production and cinematic discourses triggered by the extraordinary success of the 2006 low-budget film, Crazy Stone. Surveying the nuanced implications of the film noir genre, Harry Kuoshu argues that global neo noir maintains a mediascape of references, borrowings, and re-workings and explores various social and cultural issues that constitute this Chinese episode of neo noir. Combining literary explorations of carnival, postmodernism, and post-socialism, Kuoshu advocates for neo noir as a cultural phenomenon that connects filmmakers, film critics, and film audiences rather than an industrial genre.

Zielgruppe

Research

Autoren/Hrsg.

Kuoshu, Harry H.

Fachgebiete

• Geisteswissenschaften Theater- und Filmwissenschaft | Andere Darstellende Künste Filmwissenschaft, Fernsehen, Radio Filmtheorie, Filmanalyse
• Geisteswissenschaften Literaturwissenschaft Literaturen sonstiger Sprachräume Indische & Dravidische Literatur
• Geisteswissenschaften Literaturwissenschaft Literaturen sonstiger Sprachräume Ost- & Südostasiatische Literatur
• Geisteswissenschaften Literaturwissenschaft Literaturtheorie: Poetik und Literaturästhetik
• Interdisziplinäres Wissenschaften Wissenschaft und Gesellschaft | Kulturwissenschaften Kulturwissenschaften

Inhaltsverzeichnis

List of IllustrationsPreface1.      Introduction: Crazy Stone Phenomenon and Chinese Neo-Noir Comedies

1.       Black Carnival: The Stone Phenomenon

2.       Dog and King: To Configure Craziness

3.       Darkness: Black Humor, Film Noir and Neo-noir

4.       Modernity: Modernism, Postmodernism and Post-socialism

5.       Laughter: Carnival Revelry and Darkness

6.       Nihilism, Cynicism and Chinese Neo-noir

2.      Prelude: Rehumanization Craziness and Traditional Noir

1.       “Modernist” Craziness

2.       Desperate Songstress: Cool, Rocking Darkness

3.       Desperation: Self-chasing and Existential Modernism

4.       Obsession: Activating Cultural Psychoanalysis

3.      Discourses: Crazy Stone Dropped in a “Postmodern” Pond

1.       Postmodernism

2.       Grassroots

3.       Carnival

4.        Egao (Mischievous parody)and Shanzhai (Copycatting)

4.      Films: Because of Crazy Stone

1.       Lost & Found: Darkness for Sale

2.        Stone Hitting on Swords: A “Postmodern” Masquerade

i.         The Second Best: To Uncrown National Heroes

ii.         Almost Perfect: A Doomed Search

iii.       A Simple Noodle Story: Bright-color, Neo-noir Profanity

3.       Happy: Idealism, Formalism and Bitter Laughter

4.       Crazy Racer: To Build a Ning Hao Brand 

5.       Crazy Stupid Thieves: Connections with Hong Kong

       5.    Dual Retrievals of Cinematic Craziness: A Coda

Über Autor(innen)

Harry H. Kuoshu is Herring Endowed Chair in Asian Studies and Film Studies at Furman University, USA, where he teaches courses on Chinese film, literature, culture and language. In addition to scholarly articles, he is the author of Lightness of Being in China (1999), Celluloid China (2002), and Metro Movies: Cinematic Urbanism in Post-Mao China (2011).