Acting through the Camera Lens: The Global Imaginary and Middle Class Aspirations in Chinese Urban Cinema.
Much has been written about the social composition of China’s rising middle class and their political and economic stances; yet little critical attention has been paid to the visual representation of middle class sensibility in China’s neoliberal era. This article engages in a comparative reading of...
| Publicado en: | Journal of Contemporary China Vol. 26; no. 104; pp. 311 - 325 |
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| Formato: | Artículo |
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Taylor & Francis Ltd
Mar2017
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| Acceso en línea: | Ver este registro en EBSCOhost |
| fields | @attributes: recordID: 1 pdfLink: plink: https://search.ebscohost.com/login.aspx?direct=true&db=ssf&AN=121307578&site=ehost-live header: @attributes: shortDbName: ssf uiTerm: 121307578 longDbName: Social Sciences Full Text (H.W. Wilson) uiTag: AN controlInfo: bkinfo: jinfo: jid: 10670564 LCC jtl: Journal of Contemporary China issn: 10670564 maglogo: Y pubinfo: dt: Mar2017 vid: 26 iid: 104 pid: 377 pub: Taylor & Francis Ltd artinfo: ui: 121307578 10.1080/10670564.2016.1223099 ppf: 311 ppct: 14 formats: fmt: – @attributes: type: T db: hlh ui: 121307578 – @attributes: type: P db: hlh ui: 121307578 tig: atl: Acting through the Camera Lens: The Global Imaginary and Middle Class Aspirations in Chinese Urban Cinema. aug: au: Guo, Shaohua affil: Carleton College, USA su: China My Father & I (Film) Go Lala Go (Film) Xu Jinglei Motion pictures Middle class Heterosexuality in motion pictures sug: subj: Motion pictures Middle class China Motion Picture and Video Production Heterosexuality in motion pictures My Father & I (Film) Go Lala Go (Film) Xu Jinglei ab: Much has been written about the social composition of China’s rising middle class and their political and economic stances; yet little critical attention has been paid to the visual representation of middle class sensibility in China’s neoliberal era. This article engages in a comparative reading of the actress-turned-director Xu Jinglei’s filmsMy Father and I(2003) andGo Lala Go!(2010), and investigates how Xu’s movies both cultivate and mirror prevalent middle class sentiments by romanticizing and subtly transgressing heterosexual gender relations. It argues that the intertextual reference between Xu’s films, her stardom and social transformation not only projects the cultural aspirations and imaginaries of middle class audiences, but also illuminates the inherent affinity between middlebrow culture, gender dynamics and Chinese urban cinema. pubtype: Academic Journal doctype: Article src: R language: English refInfo: copyright: @attributes: flag: N holdings: @attributes: islocal: N |
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