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Abstract: In examining the way Ang Lee's "Crouching Tiger, Hidden Dragon" grapples with cultural identity and Chineseness, this essay
considers Lee's construction of an image of "China" in the film, as well as its feminist possibilities. These readings reveal
Lee's conflicted critique of traditional Chinese cultural centrism and patriarchal hegemony.
Abstract: This article proposes that Ang Lee's Chinese-language martial arts film, "Crouching Tiger, Hidden Dragon", be seen as a work
of diasporic cinema. The essay explores how the film's material production and its aesthetic form have been shaped by Lee's
ties to his Chinese homeland, to other members of the Chinese diaspora, and to the Hollywood films of his American hostland.
Maureen G. Shanahan
Abstract: "L'Inhumaine" (Marcel L'Herbier, 1924) permits multiple subversive readings and queer spectatorial positions as a result of
"Georgette Leblanc's" interventions in the narrative, the film's misquoting of post-World War I heterosexual paradigms, and
citations to gay, lesbian, and queer figures.
Alison Murray Levine
Abstract: In the 1920s, the French government funded a rural cinema campaign designed to educate farmers about progressive farming techniques
and to combat the "rural exodus" to the cities. This program, which brought film to the French countryside, is an early example
of the state use of film for social change.
Dennis Broe, Louise Spence
Scott Higgins, Sara Ross
Kirsten Moana Thompson, Rebecca M. Gordon