Emilie Yueh-Yu Yeh
Biographic Data
| ID | 4874606 |
|---|---|
| NAME | Emilie Yueh-Yu Yeh |
| GIVEN NAMES | Emilie Yueh-Yu |
| FAMILY NAME | Yeh |
| SIGNATURE | YEH E Y |
| AFFILIATIONS | Hong Kong Baptist University |
| ORCID | 0000-0001-9032-6474 |
| VERIFIED | Yes |
| TOTAL WORKS | 14 |
| TOTAL CITATIONS | 21 |
| AUTHOR COUNT | 11 |
| EDITOR COUNT | 3 |
| FIRST PUBLICATION YEAR | 2002 |
| LATEST PUBLICATION YEAR | 2024 |
| H-INDEX | 3 |
Testing the canon: Digital scholarship and early cinema in Hong Kong
A History of Film Exhibition and Reception in Colonial Hong Kong (1897–1925) and Early Chinese Film Database are two digital humanities projects made to share new historical data on early cinema in Hong Kong and China. Information held in these two databases is pivotal to animating local film histories and can be utilized to form a new understanding of the incipient shape of cinema trade. This article seeks to aggregate the receptions of twenty c…
Chinese-Language Film: Historiography, Poetics, Politics
More than law and order: Film regulations and the control of Chinese theatres in colonial Hong Kong
EMILIE YUEH-YU
Thirty-two New Takes on Taiwan Cinema
Film subsidies and cultural policy: The status of Hong Kong cinema
This article reviews the film policy undertaken by the Hong Kong SAR government since the late 1990s. This film policy has been revised and refined over the past two decades, with several earmarked subsidy schemes intended to renew the film industry in production, promotion, and overseas exhibition. We present an account of government film subsidies and examine their effectiveness in the rejuvenation of Hong Kong cinema, followed by the feedback …
Early Film Culture in Hong Kong, Taiwan, and Republican China: Kaleidoscopic Histories
This volume features new work on cinema in early twentieth-century Hong Kong, Taiwan, and Republican China. Looking beyond relatively well-studied cities like Shanghai, these essays foreground cinema's relationship with imperialism and colonialism and emphasize the rapid development of cinema as a sociocultural institution. These essays examine where films were screened; how cinema-going as a social activity adapted from and integrated with exist…
Policy and creative strategies: Hong Kong Cepa films in the China market
This article examines the creative strategies of Hong Kong Closer Economic Partnership Arrangement (CEPA) films in engagements with the China market under the framework of CEPA introduced in 2004. One of the aims of CEPA for the film sector is to boost co-production between Hong Kong and the mainland. In the past 10 years, CEPA has dramatically changed Hong Kong cinema’s relationship with China in that major film directors have moved to produce C…
Zimuzu and Media Industry in China
Zimuzu (, ZMZ) are Chinese online communities that share subtitled versions of foreign television and movies, often within hours of domestic release. Although unauthorized and unlicensed, the programs are streamed and downloaded on tablets and smartphones, free of charge. ZMZ allow many thousands of Chinese viewers to devour foreign fare (e.g., Prison Break, Desperate Housewives, The Big Bang Theory), sidestepping official channels of circulation…
Staging Memories: Hou Hsiao-hsien's A City of Sadness
Home Is Where Hollywood Isn’t: Recasting East Asian Film Industries
Echoing some scholars who have challenged the Hollywood-centric view with respect to East Asian film and television, 2 I provide an up-to-date review of the ways East Asian industries have protected their economic interests and conserved local culture through moving images. Despite strong Hollywood marketing in East Asia, local films have experienced a resurgence since 2008especially in Japan, South Korea, Taiwan, and China, While Hollywood has c…
East Asian Screen Industries
This book presents a comprehensive account of Asian cinema, its successes and challenges. Asian cinema is a growing industry, producing films popular all over the world. This book examines not only films, but the global forces affecting their production. It is a fascinating study for anyone interested in film or Asian culture. East Asian Screen Industries is a guide to the film industries of Japan, South Korea, Taiwan, Hong Kong and the PRC. The …
Chapter 3. Globalization and hybridization in cultural production: A tale of two films
The concept of hybridization falls short of acknowledging structural inequalities, and has allegedly become a neocolonial discourse that is complicit with transnational capitalism. In 2001, a Chinese-language martial arts film became the highest grossing foreign-language film in the history of Hollywood. This chapter argues that globalization and hybridization have become ever more intertwined and multivalent, and are far from being a one-way flo…
Globalization and hybridization in cultural products: The cases of Mulan and Crouching Tiger, Hidden Dragon
Hybridization has become part of an ongoing trend in cultural production, with both the globalization and localization of the culture industry. Hybridization, however, is not merely the mixing, blending and synthesizing of different elements that ultimately forms a culturally faceless whole. In the course of hybridization, cultures often generate new forms and make new connections with one another. This study looks at two globally popular films t…
Japan Hongscreen: Pan-Asian cinemas and flexible accumulation
Image the Hong Kong filem industry as a number of small workshops rather than a large factory centrally organized and vertically integrated. Each workshop
Globalization and hybridization in cultural products: The cases of Mulan and Crouching Tiger, Hidden Dragon
Hybridization has become part of an ongoing trend in cultural production, with both the globalization and localization of the culture industry. Hybridization, however, is not merely the mixing, blending and synthesizing of different elements that ultimately forms a culturally faceless whole. In the course of hybridization, cultures often generate new forms and make new connections with one another. This study looks at two globally popular films t…
Japan Hongscreen: Pan-Asian cinemas and flexible accumulation
Image the Hong Kong filem industry as a number of small workshops rather than a large factory centrally organized and vertically integrated. Each workshop
More than law and order: Film regulations and the control of Chinese theatres in colonial Hong Kong
EMILIE YUEH-YU
Policy and creative strategies: Hong Kong Cepa films in the China market
This article examines the creative strategies of Hong Kong Closer Economic Partnership Arrangement (CEPA) films in engagements with the China market under the framework of CEPA introduced in 2004. One of the aims of CEPA for the film sector is to boost co-production between Hong Kong and the mainland. In the past 10 years, CEPA has dramatically changed Hong Kong cinema’s relationship with China in that major film directors have moved to produce C…
Zimuzu and Media Industry in China
Zimuzu (, ZMZ) are Chinese online communities that share subtitled versions of foreign television and movies, often within hours of domestic release. Although unauthorized and unlicensed, the programs are streamed and downloaded on tablets and smartphones, free of charge. ZMZ allow many thousands of Chinese viewers to devour foreign fare (e.g., Prison Break, Desperate Housewives, The Big Bang Theory), sidestepping official channels of circulation…
Japan Hongscreen: Pan-Asian cinemas and flexible accumulation
Image the Hong Kong filem industry as a number of small workshops rather than a large factory centrally organized and vertically integrated. Each workshop
Globalization and hybridization in cultural products: The cases of Mulan and Crouching Tiger, Hidden Dragon
Hybridization has become part of an ongoing trend in cultural production, with both the globalization and localization of the culture industry. Hybridization, however, is not merely the mixing, blending and synthesizing of different elements that ultimately forms a culturally faceless whole. In the course of hybridization, cultures often generate new forms and make new connections with one another. This study looks at two globally popular films t…
Chapter 3. Globalization and hybridization in cultural production: A tale of two films
The concept of hybridization falls short of acknowledging structural inequalities, and has allegedly become a neocolonial discourse that is complicit with transnational capitalism. In 2001, a Chinese-language martial arts film became the highest grossing foreign-language film in the history of Hollywood. This chapter argues that globalization and hybridization have become ever more intertwined and multivalent, and are far from being a one-way flo…
East Asian Screen Industries
This book presents a comprehensive account of Asian cinema, its successes and challenges. Asian cinema is a growing industry, producing films popular all over the world. This book examines not only films, but the global forces affecting their production. It is a fascinating study for anyone interested in film or Asian culture. East Asian Screen Industries is a guide to the film industries of Japan, South Korea, Taiwan, Hong Kong and the PRC. The …
Home Is Where Hollywood Isn’t: Recasting East Asian Film Industries
Echoing some scholars who have challenged the Hollywood-centric view with respect to East Asian film and television, 2 I provide an up-to-date review of the ways East Asian industries have protected their economic interests and conserved local culture through moving images. Despite strong Hollywood marketing in East Asia, local films have experienced a resurgence since 2008especially in Japan, South Korea, Taiwan, and China, While Hollywood has c…
Staging Memories: Hou Hsiao-hsien's A City of Sadness
Zimuzu and Media Industry in China
Zimuzu (, ZMZ) are Chinese online communities that share subtitled versions of foreign television and movies, often within hours of domestic release. Although unauthorized and unlicensed, the programs are streamed and downloaded on tablets and smartphones, free of charge. ZMZ allow many thousands of Chinese viewers to devour foreign fare (e.g., Prison Break, Desperate Housewives, The Big Bang Theory), sidestepping official channels of circulation…
Early Film Culture in Hong Kong, Taiwan, and Republican China: Kaleidoscopic Histories
This volume features new work on cinema in early twentieth-century Hong Kong, Taiwan, and Republican China. Looking beyond relatively well-studied cities like Shanghai, these essays foreground cinema's relationship with imperialism and colonialism and emphasize the rapid development of cinema as a sociocultural institution. These essays examine where films were screened; how cinema-going as a social activity adapted from and integrated with exist…
Policy and creative strategies: Hong Kong Cepa films in the China market
This article examines the creative strategies of Hong Kong Closer Economic Partnership Arrangement (CEPA) films in engagements with the China market under the framework of CEPA introduced in 2004. One of the aims of CEPA for the film sector is to boost co-production between Hong Kong and the mainland. In the past 10 years, CEPA has dramatically changed Hong Kong cinema’s relationship with China in that major film directors have moved to produce C…
Thirty-two New Takes on Taiwan Cinema
Film subsidies and cultural policy: The status of Hong Kong cinema
This article reviews the film policy undertaken by the Hong Kong SAR government since the late 1990s. This film policy has been revised and refined over the past two decades, with several earmarked subsidy schemes intended to renew the film industry in production, promotion, and overseas exhibition. We present an account of government film subsidies and examine their effectiveness in the rejuvenation of Hong Kong cinema, followed by the feedback …
Chinese-Language Film: Historiography, Poetics, Politics
More than law and order: Film regulations and the control of Chinese theatres in colonial Hong Kong
EMILIE YUEH-YU
Testing the canon: Digital scholarship and early cinema in Hong Kong
A History of Film Exhibition and Reception in Colonial Hong Kong (1897–1925) and Early Chinese Film Database are two digital humanities projects made to share new historical data on early cinema in Hong Kong and China. Information held in these two databases is pivotal to animating local film histories and can be utilized to form a new understanding of the incipient shape of cinema trade. This article seeks to aggregate the receptions of twenty c…
Hong Kong and Taiwan Politics (9 works) · Movie theater (8 works) · Political science (7 works) · Art (6 works) · Art history (6 works) · Asian Culture and Media Studies (5 works) · China (5 works) · Film industry (5 works) · Geography (5 works) · History (5 works)