Transnationalism and Translocality in Chinese Cinema
Datos Bibliográficos
| ID | 7537680 |
|---|---|
| Autores | Yingjin Zhang (0000-0001-9296-6440, autor de correspondencia) |
| Año | 2010 |
| Volumen | 49 |
| Número | 3 |
| Páginas | 135-139 |
| Fecha de publicación | 2010-03-01 |
| Open Access | No |
| Tipo | ARTICLE |
| Revista | Cinema Journal (JOURNAL) |
| Identificadores de la revista | ISSN: 0009-7101 • E-ISSN: 1527-2087 |
| Editorial | University of Texas Press (PUBLISHER • US) |
| DOI | 10.1353/cj.0.0204 |
| OpenAlex | W2035846496 |
| Idioma | EN |
| Citas recibidas | 5 |
| Referencias citadas | 4 |
way to get the attention of bureaucrats is to have a plan, in particular one which takes advantage of preferential location policies. The term is now commonly used in plans and proposals circulated by China's film, TV, and animation sectors. There is a sense that if Japan and Korea can make waves in terms of cultural production, then it may be China's turn next. Understood this way, soft power is about national pride as much as export data. It goes without saying that the prospect of a Chinese Wave is intriguing to many Chinese. The unanswered question is, How will China manage, on the one hand, to generate a stream of content that satisfies the aspirations of party leaders concerned with maintaining national and cultural sovereignty and, on the other hand, lure entrepreneurs looking to broker a new Pan-Asian style that might prove attractive to audiences across the region
Art · Humanities · Movie theater · Political science · Transnationalism · Visual arts · Asian Culture and Media Studies · Hong Kong and Taiwan Politics · Japanese History and Culture
| Citas por año | 0,45 |
|---|---|
| Intervalo de citas | 2015 - 2020 (6) |
| Altamente citado | No |