Tan See Kam
Biographic Data
| ID | 4792605 |
|---|---|
| NAME | Tan See Kam |
| GIVEN NAMES | Tan See |
| FAMILY NAME | Kam |
| SIGNATURE | KAM T S |
| AFFILIATIONS | The University of Melbourne |
| ORCID | 0000-0002-5717-7152 |
| VERIFIED | Yes |
| TOTAL WORKS | 13 |
| TOTAL CITATIONS | 9 |
| AUTHOR COUNT | 12 |
| EDITOR COUNT | 1 |
| FIRST PUBLICATION YEAR | 1994 |
| LATEST PUBLICATION YEAR | 2023 |
| H-INDEX | 2 |
Iron patriotism, xuexing -masculinism, wode -ism: From Iron Soldiers to Wolf Warriors
Journal Article Iron patriotism, xuexing-masculinism, wode-ism: from Iron Soldiers to Wolf Warriors Get access See Kam Tan, See Kam Tan Email: [email protected] https://orcid.org/0000-0002-5717-7152 Search for other works by this author on: Oxford Academic Google Scholar Yongde Dai, Yongde Dai Search for other works by this author on: Oxford Academic Google Scholar Qiuwei Yang Qiuwei Yang Search for other works by this author on: Oxford Academic G…
The Palgrave Handbook of Asian Cinema
This chapter concerns the definition of Asian cinema, through Arrow Video, Terracotta, and Third Window Films—all UK-based independent film distributors. Arrow locates predominantly Japanese films within its catalogue of world cinema, and emphasizes their status as “art” or “cult.” Terracotta has focused on directors and genres from Hong Kong, Taiwan, Vietnam, and the Philippines. Third Window’s Asian film releases are predominantly from South Ko…
Tsui Hark's Peking Opera Blues
Tsui Hark’s Hong Kong New Wave film Peking Opera Blues (1986) is set in a China marked by contestations between Republican democrats and monarchist revivalists (circa 1913). Through various acts of reading film in different (though intertextually connected) ways along a formalist-historical-postmodernist continuum this book offers various reading strategies which reveal the film’s richness in terms of textual contours, textual affects, and ideolo…
Tsui Hark’s Peking Opera Blues
Tsui Hark’s Hong Kong New Wave film Peking Opera Blues (1986) is set in a China marked by contestations between Republican democrats and monarchist revivalists (circa 1913). Through various acts of reading film in different (though intertextually connected) ways along a formalist-historical-postmodernist continuum this book offers various reading strategies which reveal the film’s richness in terms of textual contours, textual affects, and ideolo…
Shaw Brothers' bangpian: Global Bondmania, cosmopolitan dreaming and cultural nationalism
The focus of this essay are Shaw Brothers’ bangpian : Mandarin action movies largely inspired by James Bond ( bang ) movies ( pian ). I argue that it is better to think of bangpian not simply as passive and disengaged imitations of Bond movies but as Hong Kong films manifesting a cosmopolitan yet localized, active and interested participation in global Bondmania. Further to this ‘cosmo-localization’ thesis, the essay explores the social and cultu…
Memorialization, melancholia and melancholizing in Shaw Brothers' fengyue (erotic) films
This paper opens a new chapter to extant studies of fengyuepian by looking closely at Ai Nu / Intimate Confessions of a Chinese Courtesan (1972) and Ai Nu xinzhuang / Lust for Love of a Chinese Courtesan (1984) with respect to three main themes, female homoeroticism, memorialization and melancholizing, discussing them in relation to the master–slave imaginary that structures the films’ respective plots. Popularized by Shaw Brothers, fengyuepian a…
Global Hollywood, Narrative Transparency, and Chinese Media Poachers: Narrating Cross-Cultural Negotiations of Friends in South China
This paper offers a case study of the cross-cultural consumption of Friends (1994-2004, USA) in South China. It focused on media poachers, or people who use the sitcom in unauthorised or nonlegal ways, and strove for an interdisciplinary and internationalist understanding of global Hollywood. It deployed the qualitative method of in-depth and focus group interviews, both face-to-face and online, and critically surveyed media reception theories, f…
Hong Kong Screenscapes: From the New Wave to the Digital Frontier
This volume focuses on film clubs of the 1950s, 60s, and 70s, as well as new waves since that have both refreshed and ruptured Hong Kong screenscapes. Energized by transnational image and human flows from China and Asia, Hong Kong's commercial filmmakers and independent pioneers have actively challenged established genres and narrative conventions to create a cultural space independent of Hollywood
Hong Kong Film, Hollywood and New Global Cinema: No Film Is an Island
Our current moment is characterised by furious transnational exchange between Hollywood and what has been dubbed the ‘Asian horror film’ – a new regionalist appellation less inclusive than it sounds, since it consists primarily of Japanese, South Korean, Hong Kong, and Thai horror films. What I am calling the new Asian horror film refers to the pronounced role of the horror film, among other commercial genre fare, in the convergence of regional, …
The Cross-Gender Performances of Yam Kim-Fei, or the Queer Factor in Postwar Hong Kong Cantonese Opera/Opera Films
This essay is designed as a brief historical examination of the Cantonese female cross-dressing star Yam Kim-Fei, whose hundreds of films and opera performances in the '50s and '60s have made her one of the century's most celebrated transvestite artists. While her craft has often been relegated to studies of gender alone, I assert that the traditions of Chinese operatic transvestism she employs are not merely a relativist historical-artistic mode…
Ban(g)! Ban(g)! Dangerous Encounter - 1st Kind: Writing with Censorship
Dangerous Encounter — 1st Kind (hereafter. Dangerous) opens and closes with the same scene. A group of unidentified children drops a bag of red paint from the top of a decrepit-looking building on an unidentified pedestrian below. The bag hits the ground, missing her. Although her umbrella also saves her from a splattering, she is not consoled: she bellows at the children, cursing them. The paint is only a drop in the blood that splashes everywhe…
Making space for heterologies: De Certeau's links with post‐colonial criticisms
This paper explores some central premises of Michel de Certeau's work, in particular Western imperialist historiography—the writing that not only conquers but also results in the scriptural occultation of its other. It traces de Certeau's discussion of the discursive formation of this writing, but only, like de Certeau, to demonstrate how unstable such a formation is, despite its supposition to the contrary. In other words, the occulted other, do…
Hong Kong Cinema: Double Marginalization and Cultural Resistance
Global Hollywood, Narrative Transparency, and Chinese Media Poachers: Narrating Cross-Cultural Negotiations of Friends in South China
This paper offers a case study of the cross-cultural consumption of Friends (1994-2004, USA) in South China. It focused on media poachers, or people who use the sitcom in unauthorised or nonlegal ways, and strove for an interdisciplinary and internationalist understanding of global Hollywood. It deployed the qualitative method of in-depth and focus group interviews, both face-to-face and online, and critically surveyed media reception theories, f…
The Cross-Gender Performances of Yam Kim-Fei, or the Queer Factor in Postwar Hong Kong Cantonese Opera/Opera Films
This essay is designed as a brief historical examination of the Cantonese female cross-dressing star Yam Kim-Fei, whose hundreds of films and opera performances in the '50s and '60s have made her one of the century's most celebrated transvestite artists. While her craft has often been relegated to studies of gender alone, I assert that the traditions of Chinese operatic transvestism she employs are not merely a relativist historical-artistic mode…
Shaw Brothers' bangpian: Global Bondmania, cosmopolitan dreaming and cultural nationalism
The focus of this essay are Shaw Brothers’ bangpian : Mandarin action movies largely inspired by James Bond ( bang ) movies ( pian ). I argue that it is better to think of bangpian not simply as passive and disengaged imitations of Bond movies but as Hong Kong films manifesting a cosmopolitan yet localized, active and interested participation in global Bondmania. Further to this ‘cosmo-localization’ thesis, the essay explores the social and cultu…
Hong Kong Cinema: Double Marginalization and Cultural Resistance
Ban(g)! Ban(g)! Dangerous Encounter - 1st Kind: Writing with Censorship
Dangerous Encounter — 1st Kind (hereafter. Dangerous) opens and closes with the same scene. A group of unidentified children drops a bag of red paint from the top of a decrepit-looking building on an unidentified pedestrian below. The bag hits the ground, missing her. Although her umbrella also saves her from a splattering, she is not consoled: she bellows at the children, cursing them. The paint is only a drop in the blood that splashes everywhe…
Making space for heterologies: De Certeau's links with post‐colonial criticisms
This paper explores some central premises of Michel de Certeau's work, in particular Western imperialist historiography—the writing that not only conquers but also results in the scriptural occultation of its other. It traces de Certeau's discussion of the discursive formation of this writing, but only, like de Certeau, to demonstrate how unstable such a formation is, despite its supposition to the contrary. In other words, the occulted other, do…
The Cross-Gender Performances of Yam Kim-Fei, or the Queer Factor in Postwar Hong Kong Cantonese Opera/Opera Films
This essay is designed as a brief historical examination of the Cantonese female cross-dressing star Yam Kim-Fei, whose hundreds of films and opera performances in the '50s and '60s have made her one of the century's most celebrated transvestite artists. While her craft has often been relegated to studies of gender alone, I assert that the traditions of Chinese operatic transvestism she employs are not merely a relativist historical-artistic mode…
Hong Kong Film, Hollywood and New Global Cinema: No Film Is an Island
Our current moment is characterised by furious transnational exchange between Hollywood and what has been dubbed the ‘Asian horror film’ – a new regionalist appellation less inclusive than it sounds, since it consists primarily of Japanese, South Korean, Hong Kong, and Thai horror films. What I am calling the new Asian horror film refers to the pronounced role of the horror film, among other commercial genre fare, in the convergence of regional, …
Hong Kong Screenscapes: From the New Wave to the Digital Frontier
This volume focuses on film clubs of the 1950s, 60s, and 70s, as well as new waves since that have both refreshed and ruptured Hong Kong screenscapes. Energized by transnational image and human flows from China and Asia, Hong Kong's commercial filmmakers and independent pioneers have actively challenged established genres and narrative conventions to create a cultural space independent of Hollywood
Global Hollywood, Narrative Transparency, and Chinese Media Poachers: Narrating Cross-Cultural Negotiations of Friends in South China
This paper offers a case study of the cross-cultural consumption of Friends (1994-2004, USA) in South China. It focused on media poachers, or people who use the sitcom in unauthorised or nonlegal ways, and strove for an interdisciplinary and internationalist understanding of global Hollywood. It deployed the qualitative method of in-depth and focus group interviews, both face-to-face and online, and critically surveyed media reception theories, f…
Memorialization, melancholia and melancholizing in Shaw Brothers' fengyue (erotic) films
This paper opens a new chapter to extant studies of fengyuepian by looking closely at Ai Nu / Intimate Confessions of a Chinese Courtesan (1972) and Ai Nu xinzhuang / Lust for Love of a Chinese Courtesan (1984) with respect to three main themes, female homoeroticism, memorialization and melancholizing, discussing them in relation to the master–slave imaginary that structures the films’ respective plots. Popularized by Shaw Brothers, fengyuepian a…
Shaw Brothers' bangpian: Global Bondmania, cosmopolitan dreaming and cultural nationalism
The focus of this essay are Shaw Brothers’ bangpian : Mandarin action movies largely inspired by James Bond ( bang ) movies ( pian ). I argue that it is better to think of bangpian not simply as passive and disengaged imitations of Bond movies but as Hong Kong films manifesting a cosmopolitan yet localized, active and interested participation in global Bondmania. Further to this ‘cosmo-localization’ thesis, the essay explores the social and cultu…
Tsui Hark's Peking Opera Blues
Tsui Hark’s Hong Kong New Wave film Peking Opera Blues (1986) is set in a China marked by contestations between Republican democrats and monarchist revivalists (circa 1913). Through various acts of reading film in different (though intertextually connected) ways along a formalist-historical-postmodernist continuum this book offers various reading strategies which reveal the film’s richness in terms of textual contours, textual affects, and ideolo…
Tsui Hark’s Peking Opera Blues
Tsui Hark’s Hong Kong New Wave film Peking Opera Blues (1986) is set in a China marked by contestations between Republican democrats and monarchist revivalists (circa 1913). Through various acts of reading film in different (though intertextually connected) ways along a formalist-historical-postmodernist continuum this book offers various reading strategies which reveal the film’s richness in terms of textual contours, textual affects, and ideolo…
The Palgrave Handbook of Asian Cinema
This chapter concerns the definition of Asian cinema, through Arrow Video, Terracotta, and Third Window Films—all UK-based independent film distributors. Arrow locates predominantly Japanese films within its catalogue of world cinema, and emphasizes their status as “art” or “cult.” Terracotta has focused on directors and genres from Hong Kong, Taiwan, Vietnam, and the Philippines. Third Window’s Asian film releases are predominantly from South Ko…
Iron patriotism, xuexing -masculinism, wode -ism: From Iron Soldiers to Wolf Warriors
Journal Article Iron patriotism, xuexing-masculinism, wode-ism: from Iron Soldiers to Wolf Warriors Get access See Kam Tan, See Kam Tan Email: [email protected] https://orcid.org/0000-0002-5717-7152 Search for other works by this author on: Oxford Academic Google Scholar Yongde Dai, Yongde Dai Search for other works by this author on: Oxford Academic Google Scholar Qiuwei Yang Qiuwei Yang Search for other works by this author on: Oxford Academic G…
Law (8 works) · Political science (8 works) · Sociology (8 works) · Art (7 works) · History (7 works) · Law (7 works) · Art history (6 works) · Hong Kong and Taiwan Politics (6 works) · Media studies (5 works) · Asian Culture and Media Studies (4 works)