Song Hwee Lim
Biographic Data
| ID | 3675456 |
|---|---|
| NAME | Song Hwee Lim |
| GIVEN NAMES | Song Hwee |
| FAMILY NAME | Lim |
| SIGNATURE | LIM S H |
| AFFILIATIONS | University of Exeter |
| ORCID | 0000-0002-4794-9550 |
| VERIFIED | Yes |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 62 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2025 |
| H-INDEX | 2 |
Queering Asia, querying method
This position paper responds to the topic of “Queer Asia as Method” by addressing each keyword individually and incrementally as phrases. It begins with the term “Asia” and argues that oppression still suffered by gendered and queer subjects in many parts of Asia should caution us against celebratory discourses in the name of Asia. It moves on to consider the notion of “Asia as method” and suggests that a hostility to theory in the name of method…
Taiwan Cinema as Soft Power
This book seeks to understand cinema as a form of soft-power tool. It proposes Taiwan as a prime example of cinema’s effect in assisting a small nation gain prominence on the international stage. It maps Taiwan’s cinematic output in the twenty-first century through the three keywords in the book’s subtitle—authorship, transnationality, historiography. Its object of analysis is the legacy of Taiwan New Cinema, a movement that began in the early 19…
Citizen-to-citizen connectivity and soft power
This article takes as its object of analysis the term 'little freshness' ( xiao qingxin 小清新), which has been coined to describe a variety of cultural products and phenomena, mostly emanating from Taiwan but circulating across the Taiwan Strait. It argues that little freshness is a manifestation of subcultures that have been initiated, appropriated, and consumed by youths in the region. This citizen-to-citizen connectivity reworks Joseph Nye's not…
Chinese Cinema Book
Walking in the city, slowly
At the 2013 Venice Film Festival, where his tenth feature film, Jiaoyou/Stray Dogs (2013), won the Grand Jury prize, the Malaysian-born, Taiwan-based director Tsai Ming-liang declared that this would be his last film. In this he joined Béla Tarr, another master of slow cinema, who had also recently announced his retirement. Tsai’s statement came as no surprise to those who had followed his career closely, as he had for quite some time been deeply…
Tsai Ming-Liang and a Cinema of Slowness
How can we qualify slowness in cinema? What is the relationship between a cinema of slowness and a wider socio-cultural slow movement? A body of films that shares a propensity toward slowness has emerged in many parts of the world over the past two decades. This is the first book to examine the concept of cinematic slowness and address this fascinating phenomenon in contemporary film culture. Providing a critical investigation into questions of t…
Taiwan New Cinema
How does one measure the significance of a nation’s cinema? This chapter presents a case for Taiwan cinema as a product of a small nation with enormous soft power. Tracing major awards won by Taiwan films and directors at international film festivals, it will show that a dismal domestic production level is no hindrance to a small cinema’s global critical acclaim and examine the paradoxical dynamic between a perceived failure in the state of domes…
Speaking in Tongues
The Chinese Cinema Book
Transnational Trajectories in Contemporary East Asian Cinemas
In the introduction to their 2008 edited volume, East Asian Cinemas: Exploring Transnational Connections on Film, Leon Hunt and Leung Wing- Fai cite the example of the South Korean director Bong Joon-ho's monster movie, The Host, as "one of the most talked-about 'crossover' films of 2006" that seemed destined for, "if not Crouching Tiger, Hidden Dragon- sized global success, then at least cult acclaim" (2008: 1).1 We now know, according to an int…
Concepts of transnational cinema
This article aims to map out the various concepts of transnational cinema that have appeared over the past ten to fifteen years, and its state of deployment, related issues and problematics. It argues for a critical form of transnationalism in film studies that might help us interpret more productively the interface between global and local, national and transnational. It also aims to move away from a Eurocentric approach towards the reading of s…
Is the trans- in transnational the transin transgender
It has become increasingly popular, within film and cinema studies, to challenge the framework of national cinema with that of transnational cinema. Transnationalism in cinema can be understood as modes of production and consumption, as well as ideology, genre and aesthetics. It can be argued, however, that transnationalism, while purporting to transcend the national, does not so much displace the nation as reinstate it within a larger, pan-natio…
Celluloid Comrades
Concepts of transnational cinema
This article aims to map out the various concepts of transnational cinema that have appeared over the past ten to fifteen years, and its state of deployment, related issues and problematics. It argues for a critical form of transnationalism in film studies that might help us interpret more productively the interface between global and local, national and transnational. It also aims to move away from a Eurocentric approach towards the reading of s…
Celluloid Comrades
Queering Asia, querying method
This position paper responds to the topic of “Queer Asia as Method” by addressing each keyword individually and incrementally as phrases. It begins with the term “Asia” and argues that oppression still suffered by gendered and queer subjects in many parts of Asia should caution us against celebratory discourses in the name of Asia. It moves on to consider the notion of “Asia as method” and suggests that a hostility to theory in the name of method…
Celluloid Comrades
Is the trans- in transnational the transin transgender
It has become increasingly popular, within film and cinema studies, to challenge the framework of national cinema with that of transnational cinema. Transnationalism in cinema can be understood as modes of production and consumption, as well as ideology, genre and aesthetics. It can be argued, however, that transnationalism, while purporting to transcend the national, does not so much displace the nation as reinstate it within a larger, pan-natio…
Concepts of transnational cinema
This article aims to map out the various concepts of transnational cinema that have appeared over the past ten to fifteen years, and its state of deployment, related issues and problematics. It argues for a critical form of transnationalism in film studies that might help us interpret more productively the interface between global and local, national and transnational. It also aims to move away from a Eurocentric approach towards the reading of s…
The Chinese Cinema Book
Transnational Trajectories in Contemporary East Asian Cinemas
In the introduction to their 2008 edited volume, East Asian Cinemas: Exploring Transnational Connections on Film, Leon Hunt and Leung Wing- Fai cite the example of the South Korean director Bong Joon-ho's monster movie, The Host, as "one of the most talked-about 'crossover' films of 2006" that seemed destined for, "if not Crouching Tiger, Hidden Dragon- sized global success, then at least cult acclaim" (2008: 1).1 We now know, according to an int…
Speaking in Tongues
Taiwan New Cinema
How does one measure the significance of a nation’s cinema? This chapter presents a case for Taiwan cinema as a product of a small nation with enormous soft power. Tracing major awards won by Taiwan films and directors at international film festivals, it will show that a dismal domestic production level is no hindrance to a small cinema’s global critical acclaim and examine the paradoxical dynamic between a perceived failure in the state of domes…
Tsai Ming-Liang and a Cinema of Slowness
How can we qualify slowness in cinema? What is the relationship between a cinema of slowness and a wider socio-cultural slow movement? A body of films that shares a propensity toward slowness has emerged in many parts of the world over the past two decades. This is the first book to examine the concept of cinematic slowness and address this fascinating phenomenon in contemporary film culture. Providing a critical investigation into questions of t…
Chinese Cinema Book
Walking in the city, slowly
At the 2013 Venice Film Festival, where his tenth feature film, Jiaoyou/Stray Dogs (2013), won the Grand Jury prize, the Malaysian-born, Taiwan-based director Tsai Ming-liang declared that this would be his last film. In this he joined Béla Tarr, another master of slow cinema, who had also recently announced his retirement. Tsai’s statement came as no surprise to those who had followed his career closely, as he had for quite some time been deeply…
Citizen-to-citizen connectivity and soft power
This article takes as its object of analysis the term 'little freshness' ( xiao qingxin 小清新), which has been coined to describe a variety of cultural products and phenomena, mostly emanating from Taiwan but circulating across the Taiwan Strait. It argues that little freshness is a manifestation of subcultures that have been initiated, appropriated, and consumed by youths in the region. This citizen-to-citizen connectivity reworks Joseph Nye's not…
Taiwan Cinema as Soft Power
This book seeks to understand cinema as a form of soft-power tool. It proposes Taiwan as a prime example of cinema’s effect in assisting a small nation gain prominence on the international stage. It maps Taiwan’s cinematic output in the twenty-first century through the three keywords in the book’s subtitle—authorship, transnationality, historiography. Its object of analysis is the legacy of Taiwan New Cinema, a movement that began in the early 19…
Queering Asia, querying method
This position paper responds to the topic of “Queer Asia as Method” by addressing each keyword individually and incrementally as phrases. It begins with the term “Asia” and argues that oppression still suffered by gendered and queer subjects in many parts of Asia should caution us against celebratory discourses in the name of Asia. It moves on to consider the notion of “Asia as method” and suggests that a hostility to theory in the name of method…
Art (9 works) · Movie theater (9 works) · Sociology (8 works) · Art history (7 works) · Asian Culture and Media Studies (7 works) · Hong Kong and Taiwan Politics (7 works) · Japanese History and Culture (7 works) · Political science (6 works) · Aesthetics (5 works) · Media studies (5 works)