15 ADDRESSING THE SPECTATOR OF A ‘THIRD WORLD’ NATIONAL CINEMA:THE BOMBAY ‘SOCIAL’ FILM OFTHE 1940S AND 1950S

Chapters in this book

1. Frontmatter i
2. CONTENTS v
3. ACKNOWLEDGEMENTS viii
4. INTRODUCTION 1
5. PART I APPROACHING ASIAN CINEMAS
6. SECTION 1 ORIENTALISM AND JAPANESE CINEMA
7. JAPANESE CINEMA AND ORIENTALISM 8
8. 1 A FILMMAKER FOR ALL SEASONS 17
9. 2 THE DIFFICULTY OF BEING RADICAL: THE DISCIPLINE OF FILM STUDIES AND THE POST-COLONIAL WORLD ORDER 27
10. 3 GODZILLA AND THE JAPANESE NIGHTMARE: WHEN THEM! IS U.S. 41
11. 4 MONSTER ISLAND: GODZILLA AND JAPANESE SCI-FI/HORROR/FANTASY 56
12. SECTION 2 COLONIAL ENCOUNTERS, POST-COLONIAL CRITICISM AND HONG KONG CINEMA
13. THE POST-COLONIAL HONG KONG CINEMA 62
14. 5 THE NEW HONG KONG CINEMA ANDTHE DÉJÀ DISPARU 72
15. 6 KUNG FU: NEGOTIATING NATIONALISM AND MODERNITY 100
16. 7 UNDER ‘WESTERN EYES’: THE PERSONAL ODYSSEY OF HUANG FEI-HONG IN ONCE UPON A TIME IN CHINA 126
17. SECTION 3 CROSS-CULTURAL CRITICISM AND CHINESE CINEMA
18. CROSS-CULTURAL CRITICISM AND CHINESE CINEMA 148
19. 8 PROBLEMATIZING CROSS-CULTURAL ANALYSIS: THE CASE OF WOMEN IN THE RECENT CHINESE CINEMA 156
20. 9 SEEING MODERN CHINA:TOWARD ATHEORY OF ETHNIC SPECTATORSHIP 168
21. 10 YELLOW EARTH: WESTERN ANALYSIS ANDA NON-WESTERN TEXT 200
22. PART II FRAMEWORKS OF STUDY
23. SECTION 4 NATIONAL CINEMA:THE CASE OF TURKEY
24. TURKISH NATIONAL CINEMA 220
25. 11 NARRATIVES OF RESISTANCE: NATIONAL IDENTITY AND AMBIVALENCE IN THE TURKISH MELODRAMA BETWEEN 1965 AND 1975 229
26. 12 TRANSLATING MODERNITY: REMAKES IN TURKISH CINEMA 242
27. 13 MUTE BODIES, DISEMBODIED VOICES: NOTES ON SOUND IN TURKISH POPULAR CINEMA 255
28. SECTION 5 GENRE CRITICISM AND POPULAR INDIAN CINEMA
29. GENRE CRITICISM AND POPULAR INDIAN CINEMA 272
30. 14 INDIAN CINEMA: PLEASURES AND POPULARITY 280
31. 15 ADDRESSING THE SPECTATOR OF A ‘THIRD WORLD’ NATIONAL CINEMA:THE BOMBAY ‘SOCIAL’ FILM OFTHE 1940S AND 1950S 295
32. 16 ‘HUM AAPKE HAIN KOUN?’ – CINEPHILIA AND INDIAN FILMS 317
33. 17 SHIFTING PITCH: THE BOLLYWOOD SONG SEQUENCE IN THE ANGLO-AMERICAN MARKET 346
34. SECTION 6 QUESTIONS OF AUTHORSHIP AND TAIWANESE CINEMA
35. FILM AUTHORSHIP AND TAIWANESE CINEMA 359
36. ISSUES OF AUTHORSHIP 359
37. 18 OZU AND THE COLONIAL ENCOUNTER IN HOU HSIAO-HSIEN 369
38. 19 TOKYO LOVE STORY AND NY BAGELS: EAST-WEST CULTURAL ENCOUNTER IN EDWARD YANG’S TAIPEI STORY 384
39. 20 THE TRANSNATIONAL CINEMA OFANG LEE 393
40. SECTION 7 STARDOM:THE CASE OF BRUCE LEE
41. BRUCE LEE: STARDOM AND IDENTITY 405
42. 21 BRUCE LEE: NARCISSUS AND THE LITTLE DRAGON 414
43. 22 HAN’S ISLAND REVISITED: ENTER THE DRAGON AS TRANSNATIONAL CULT FILM 426
44. 23 FISTS OF FURY: DISCOURSES OF RACE AND MASCULINITY IN THE MARTIAL ARTS CINEMA 437
45. BIBLIOGRAPHY 457
46. INDEX OF FILMS/TV PROGRAMMES 465
47. INDEX OF KEY TERMS 470