Across Cultural and National Borders: Diasporic Chinese Family in Pushing Hands

Being embedded in the interdisciplinary area of media and culture studies, this articlel explores the family melodrama in transnational Chinese cinema drawing upon theoretical discussions with regard to the historical emergence of melodrama in correspondence to, as Th. Elsaesser says, “periods of in...

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Main Author: Qijun Han
Format: Article
Language:English
Published: University of Pittsburgh 2011-08-01
Series:CINEJ Cinema Journal
Online Access:http://cinej.pitt.edu/ojs/index.php/cinej/article/view/12
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author Qijun Han
author_facet Qijun Han
author_sort Qijun Han
collection DOAJ
description Being embedded in the interdisciplinary area of media and culture studies, this articlel explores the family melodrama in transnational Chinese cinema drawing upon theoretical discussions with regard to the historical emergence of melodrama in correspondence to, as Th. Elsaesser says, “periods of intense social and ideological crisis”. While serving as a reflection on the tension between tradition and modernity displayed in the domestic domain, Ang Lee’s Chinese-characterized family melodrama also illustrates the differences between Chinese and Hollywood family melodrama. Linked to the ongoing debate about “melodrama as a cross-cultural form”, in the process of analyzing the film text, our perceptions of generic dislocation or displacement, transcultural entanglements and globalization in light of contemporary cultural practices will be furthermore complicated.
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spelling doaj.art-2b2f655cef494d09b4e8d6ea3a688bfa2022-12-21T23:47:47ZengUniversity of PittsburghCINEJ Cinema Journal2159-24112158-87242011-08-011010711510.5195/cinej.2011.122Across Cultural and National Borders: Diasporic Chinese Family in Pushing HandsQijun HanBeing embedded in the interdisciplinary area of media and culture studies, this articlel explores the family melodrama in transnational Chinese cinema drawing upon theoretical discussions with regard to the historical emergence of melodrama in correspondence to, as Th. Elsaesser says, “periods of intense social and ideological crisis”. While serving as a reflection on the tension between tradition and modernity displayed in the domestic domain, Ang Lee’s Chinese-characterized family melodrama also illustrates the differences between Chinese and Hollywood family melodrama. Linked to the ongoing debate about “melodrama as a cross-cultural form”, in the process of analyzing the film text, our perceptions of generic dislocation or displacement, transcultural entanglements and globalization in light of contemporary cultural practices will be furthermore complicated.http://cinej.pitt.edu/ojs/index.php/cinej/article/view/12
spellingShingle Qijun Han
Across Cultural and National Borders: Diasporic Chinese Family in Pushing Hands
CINEJ Cinema Journal
title Across Cultural and National Borders: Diasporic Chinese Family in Pushing Hands
title_full Across Cultural and National Borders: Diasporic Chinese Family in Pushing Hands
title_fullStr Across Cultural and National Borders: Diasporic Chinese Family in Pushing Hands
title_full_unstemmed Across Cultural and National Borders: Diasporic Chinese Family in Pushing Hands
title_short Across Cultural and National Borders: Diasporic Chinese Family in Pushing Hands
title_sort across cultural and national borders diasporic chinese family in pushing hands
url http://cinej.pitt.edu/ojs/index.php/cinej/article/view/12
work_keys_str_mv AT qijunhan acrossculturalandnationalbordersdiasporicchinesefamilyinpushinghands