ORCID Profile
0000-0003-4784-9848
Current Organisations
City University of New York
,
Hong Kong Baptist University
Does something not look right? The information on this page has been harvested from data sources that may not be up to date. We continue to work with information providers to improve coverage and quality. To report an issue, use the Feedback Form.
Publisher: Routledge
Date: 11-01-2013
Publisher: Hong Kong University Press
Date: 10-2008
Publisher: Walter de Gruyter GmbH
Date: 10-2020
Abstract: The article analyses Youth , a Chinese melodrama directed by Feng Xiaogang in 2017, as a representation of China during a transitional period in history. It explores issues of nostalgia and nostophobia in connection with the complexities of memory, representation, and viewing pleasure. It discusses how sound and image trigger memories and conflicting emotional reactions. In the film’s nostalgic and elegiac re-enactment of a controversial past, the military art troupe performs songs and dances extolling socialist virtues as their own lives gradually unravel with the dawn of a post-socialist era. The article elaborates on how Youth reflects and enlivens personal and collective social memory as well as how we negotiate our ambivalent feelings towards the representation of a controversial past.
Publisher: Oxford University Press (OUP)
Date: 06-2016
Publisher: University of Michigan Library
Date: 15-07-2021
DOI: 10.3998/GS.791
Publisher: University of Michigan Library
Date: 07-01-2022
DOI: 10.3998/GS.1706
Publisher: Informa UK Limited
Date: 10-2001
Publisher: University of Michigan Library
Date: 31-07-2023
DOI: 10.3998/GS.4293
Abstract: Fansub has played a significant role in recent years in introducing otherwise unavailable foreign AV content to China via file transfer on pirate websites that bypass or play cat-and-mouse games with both regulators and copyright holders. Fansub further provides opportunities for participants to preserve& nbsp the integrity of the source content that challenges mainstream conventions& nbsp and values. This article provides an overview of fansubbing in China and& nbsp discusses the complex issues involving international IP law, China’s selective& nbsp compliance with such laws, and the Chinese government’s censorship of media and entertainment content. Specifically, the article traces the evolution of Chinese piracy of Hollywood film and television from counterfeit& nbsp to fansub to tease out the larger issues of access, advocacy, and copyright infringement. Neither the legal nor the political hazard has deterred die-hard fansubbers from their “transgressions.” In discussing fansub motivations,& nbsp the article further examines both the transgressive and affirmative experiences& nbsp of Chinese fansub through the lens of the therapeutic effects.
Publisher: University of Michigan Library
Date: 31-07-2023
DOI: 10.3998/GS.4292
Publisher: Project MUSE
Date: 2005
DOI: 10.1353/CJ.2005.0038
Publisher: University of Michigan Library
Date: 07-01-2022
DOI: 10.3998/GS.1700
Publisher: Wiley
Date: 19-03-2012
Publisher: University of Michigan Library
Date: 26-01-2023
DOI: 10.3998/GS.3425
Publisher: SAGE Publications
Date: 04-2008
Abstract: In the late 1990s, a wave of dynasty drama serials began to dominate primetime dramatic programming in People's Republic of China (PRC) television, which soon created a viewing frenzy among Chinese audiences around the world. Together with Taiwan's idol drama and Hong Kong's martial arts sagas and contemporary social mobility dramas, by the early 2000s, PRC's dynasty drama had saturated a pan-Chinese media market. Using transnational dramas from the three Chinese language media production centers as a springboard, this article explores two issues concerning the global circulation of Chinese language television dramas: the forces conducive to their transnational circulation and its cultural and economic impact. It utilizes the framework of the `cultural-linguistic market' to analyze the factors enabling the formation of a Chinese cultural-linguistic media and the products viable for the market. It further entertains the question of how the emergence of a Chinese cultural-linguistic market, together with other cultural-linguistic markets, complicates the power dynamic of global cultural flow.
No related grants have been discovered for Ying Zhu.