“Home, Sweet Home”: Identity and Diaspora in Bai Jing-rui’s Qiong Yao Films

References

Berry, C., and F. Lu, eds. 2005. Island on the Edge: Taiwan New Cinema and After. Hong Kong: Hong Kong University Press.Search in Google Scholar

Bhabha, H. 2004. The Location of Culture. London & New York: Routledge.Search in Google Scholar

Chang, B.-y. 2015. Place, Identity and National Imagination in Post-war Taiwan. London & New York: Routledge.10.4324/9781315765662Search in Google Scholar

Chun, A. 1994. “From Nationalism to Nationalizing: Cultural Imagination and State Formation in Post-war Taiwan.” The Australian Journal of Chinese Affairs 31: 49–69, https://doi.org/10.2307/2949900.Search in Google Scholar

Dikoetter, F. 1992. The Discourse of Race in Modern China. Stanford: Stanford University Press.Search in Google Scholar

Gong, H. 龚. 弘. 2005. Memoir of my film career 影尘回忆录. Taipei: Huangguan wenhua chuban youxian gongsi.Search in Google Scholar

Hall, S. 1989. “Cultural Identity and Cinematic Representation.” Framework 36: 68–81.Search in Google Scholar

Hall, S. 1993. “Culture, Community, Nation.” Cultural Studies 7 (3): 349–63.10.1080/09502389300490251Search in Google Scholar

Hong, G.-J. 2011. Taiwan cinema: A Contested Nation on screen. New York: Palgrave MacMillan.Search in Google Scholar

Horng, M. C. 2010. “Domestic Dislocations: Healthy Realism, Stardom, and the Cinematic Projection of Home in Postwar Taiwan.” Journal of Chinese Cinemas 4 (1): 27–43, https://doi.org/10.1386/jcc.4.1.27/1.Search in Google Scholar

Huang, R. 黄. 仁. 2001. Filmmaker “A-lang” – Bai Jing-rui 电影阿郎–白景瑞. Taipei: Yatai tushu chubanshe.Search in Google Scholar

Huang, Y.-c. 黄猷钦. 2013. “New, Newer, Newest: Bai Jingrui’s Manifestations of Modern Cinema in the 1960s” (存乎一新：白景瑞在1960年代对电影现代性的表述).” Journal of Arts Research 艺术研究期刊 9: 87–112.Search in Google Scholar

Li, T. 李. 天. 铎. 1997. Taiwan Cinema: Society and History 台湾电影, 社会与历史. Taipei: Yatai tushu chubanshe.Search in Google Scholar

Liao, J. 廖. 金. 风. 1994. “Towards Defining the ‘healthy Realism’ Film: A Memorandum of Taiwan Film History” (迈向 ‘健康写实’ 电影的定义: 台湾电影史的一份备忘录), Film Appreciation Journal 电影欣赏, 12 (6), 38–47.Search in Google Scholar

Lin, W. 2010. “More than Escapist Romantic Fantasies: Revisiting Qiong Yao Films of the 1970s.” Journal of Chinese Cinemas 4 (1): 45–50, https://doi.org/10.1386/jcc.4.1.45/7.Search in Google Scholar

Lin, W. 林. 文. 淇. 2011. “Working Girls and the Spirit of ‘healthy Realism’ in Qiong Yao’s Films of the 1970s: The young ones, the Autumn love song and the Heart has million knots” (《彩云飞》、《秋歌》与《心有千千结》中的劳动女性与琼瑶1970年代电影的“健康写实”精神). Film Appreciation Academic Journal 电影欣赏学刊 8 (1): 4–19.Search in Google Scholar

Lin, W.-S. 林. 宛. 瑄. 2013. “Let’s Fall in Love … to Stay Healthy – Whether and How Qiong Yao’s Romance Fits into Healthy Realism.” Wenshan Review of Literature and Culture 文山评论 7 (1): 33–63.Search in Google Scholar

Pan, L. 1991. Sons of the yellow emperor: The Story of the overseas Chinese. London: Secker & Warburg.Search in Google Scholar

Qi, L. 齐. 隆. 壬. 1992. “Gender and History in the Fiction of Qiong Yao, 1963–79” (琼瑶小说(1963–1979) 中的性别与历史).” In Essays on Contemporary Taiwanese Pop-Literature 流行天下: 当代台湾通俗文学论, edited by L. Yode 林 耀 德. and M. Fan 孟 樊, 57–82. Taibei: Shibao wenhua chuban qiye youxian gongsi.Search in Google Scholar

Rawnsley, M.-Y. T. 蔡. 明. 烨. 2006. Chapter Three: Bai Jingrui and Taiwanese Cinema (第三章:白景瑞与台湾电影). Also available at http://blog.chinatimes.com/mingyeh/archive/2008/01/06/232934.html (accessed April 22, 2020)Search in Google Scholar

Rawnsley, M.-Y. T. 2009. “Observational Realism in Taiwan Cinema.” In Realism and the Audio-Visual Media, edited by L. Nagib, and C. Mello, 96–107. New York: Palgrave Macmillan.10.1057/9780230246973_7Search in Google Scholar

Safran, W. 1991. “Diasporas in Modern Societies: Myths of Homeland and Return.” Diaspora: A Journal of Transnational Studies 1 (1): 83–99.10.1353/dsp.1991.0004Search in Google Scholar

Shen, S.-y. 2007. “Stylistic Innovations and the Emergence of the Urban in Taiwan Cinema: A Study of Bai Jingrui’s Early Films.” Tamkang Review 37 (4): 25–51.Search in Google Scholar

Shen, S.-y. 2010. “A Morning in Taipei: Bai Jingrui’s Frustrated Debut.” Journal of Chinese Cinemas 4 (1): 51–6, https://doi.org/10.1386/jcc.4.1.51/7.Search in Google Scholar

Shen, S.-y. 沈. 晓. 茵. 2015. “Home of romance: Three Qiong Yao films of the 1970s”, (关爱何事：三部1970年代的琼瑶片).” Journal of Art Studies 艺术学研究 17: 115–52.Search in Google Scholar

Wicks, J. 2009. “Two Stage Brothers: Tracing a Common Heritage in Early Films by Xie Jin and Li Xing.” Modern Chinese Literature and Culture 12 (1): 174–212.Search in Google Scholar

Xiao, Y. 小. 野. 2013. Although the world is cruel, we are still…… 世界虽然残酷，我们还是……. Taipei: Jiujing chuban.Search in Google Scholar

Yeh, E. Y.-y. 2007. “The Road Home: Stylistic Renovations of Chinese Mandarin Classics.” In Cinema Taiwan: Politics, Popularity and State of the Arts, edited by D. W. Davis, and R.-S. R. Chen, 203–16. London & New York: Routledge.Search in Google Scholar

Yeh, E. Y.-y., and D. W. Davis. 2005. Taiwan Film Directors: A Treasure island. New York: Columbia University Press.Search in Google Scholar

Yip, J. 1996. “Taiwanese new cinema.” In The Oxford History of World Cinema, edited by G. Nowell-Smith, 711–3. Oxford & New York: Oxford University Press.Search in Google Scholar

Yip, J. C. 2004. Envisioning Taiwan: Fiction, cinema, and the Nation in the cultural imaginary. Durham: Duke University Press.10.1215/9780822386391Search in Google Scholar

Yue, M.-B. 2010. “There Is No Place like Home’: Diasporic Identifications and Taiwan Cinema of the 1960s and 1970s.” Postcolonial Studies 6 (2): 207–21, https://doi.org/10.1080/13688790308107.Search in Google Scholar

Zhang, Y. 2004. Chinese national cinema. London & New York: Routledge.10.4324/9780203645833Search in Google Scholar

Zhou, X. 2017. Globalization and contemporary Chinese cinema: Zhang Yimou’s genre films. Singapore: Palgrave Macmillan.10.1007/978-981-10-4328-4Search in Google Scholar