Cinema Journal, 40, 1, Fall, 2000

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Front Matter
Under "Western Eyes": The Personal Odyssey of Huang Fei-Hong in "Once upon a Time in China", 3-24
Tony Williams
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.
Soap Opera in China: The Transnational Politics of Visuality, Sexuality, and Masculinity, 25-47
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.
Early Cinema and Modernity in Latin America, 48-78
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.
"The Purest Knight of All": Nation, History, and Representation in "El Cid" (1960), 79-103
Mark Jancovich
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.
Caliban's Books: The Hybrid Text in Peter Greenaway's "Prospero's Books", 104-126
James Tweedie
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.
Archival News, 127-137
Eric Schaefer, Dan Streible
Professional Notes, 138-146
Paula J. Massood, Anne Morey
Back Matter

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