3. “All of Us Are Part of the Monster”: Toxic Sublimity and Ethical Reflexivity in Zhao Liang’s Behemoth

Chapters in this book

1. Frontmatter i
2. Contents v
3. Acknowledgments vii
4. Introduction 1
5. Part I: Politics and Dissent in Global Contexts
6. 1. Seeing (through) the Struggle Sessions: Cinema, Recycling, and Transnational Circulation 17
7. 2. Screening Politics in Hong Kong 41
8. 3. “All of Us Are Part of the Monster”: Toxic Sublimity and Ethical Reflexivity in Zhao Liang’s Behemoth 58
9. Part II: Audiences and Reception in Transnational Contexts
10. 4. From Gone with the Wind to The Spring River Flows East: Melodrama and Historical Imagination in Postwar Chinese Cinema 77
11. 5. Spatial Perception: The Aesthetics of Yijing in Transnational Kung Fu Films 97
12. 6. Global Network, Ecocinema, and Chinese Contexts: Wolf Totem as a Successful Model of Transnational Coproduction 113
13. Part III: Globalization and Chinese Identities
14. 7. The Sound of Chinese Urban Cinema: Multilingualism and the Re-globalization of Shanghai in the 1990s 129
15. 8. Sound, Allusion, and the “Wandering Songstress” in Royston Tan’s Films 152
16. 9. Implicit Sexuality: The Representation of the Femme Fatale Figure in Black Coal, Thin Ice 169
17. Part IV: Film Markets and Financial Reform
18. 10. The China Film Co., Ltd. and the Stock Market: Financialization with Chinese Characteristics 183
19. 11. Big Shot’s Funeral: Sino-Foreign Collaboration and Industrial Commercialization 204
20. 12. Sticks, Not Carrots: The Discourse of Soft Power in Popular Chinese Cinema 223
21. Epilogue 242
22. Contributors 249
23. Index 253