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Abstract: Rather than being read in exclusively postmodernist terms, Tsui Hark's series "Once upon a Time in China" may be understood
as a new version of a Hong Kong cinematic discourse involving historical "interflow." It deals with dispersion, China's relationship
to the outside world, and strategic forms of reintegration designed to strengthen national identity.
Sheldon H. Lu
Abstract: This essay examines Chinese television drama in the 1990s. It focuses on soap operas involving transnational romances between
Chinese men and Russian and American women. The construction of Chinese masculinity through the foreign woman has become a
new way of imagining national identity in the age of globalization.
Ana M. López
Abstract: This article traces the introduction and development of the cinema in Latin America, exploring the complex global interactions
and transformational experiments that marked the diffusion of the medium in the context of international trends as well as
in relationship to the continent's incipient modernity. The essay's comparative frame-work points to new patterns and observations
that exceed the boundaries of discrete national histories.
Abstract: This article examines the Samuel Bronston production of "El Cid" (1960) and analyzes the process of cultural hybridization
through which various myths of the Spanish national hero are stitched together and, in the process, reinterpreted to produce
an epic movie for an international market.
Abstract: This essay discusses Peter Greenaway's "Prospero's Books" as an allegory of the adaptation of canonical literature to cinema,
with "The Tempest'"s colonial concerns refigured as a confrontation between a "masterful" original and an "unfaithful" follower.
The essay then situates the film's meditation on the literary artifact and neobaroque aesthetics in opposition to the discourses
of heritage circulating in Thatcherite Britain.
Eric Schaefer, Dan Streible
Paula J. Massood, Anne Morey