Yiran Ai
Biographic Data
| ID | 9664725 |
|---|---|
| NAME | Yiran Ai |
| GIVEN NAMES | Yiran |
| FAMILY NAME | Ai |
| SIGNATURE | AI Y |
| AFFILIATIONS | independent scholar |
| ORCID | 0000-0001-8634-5998 |
| VERIFIED | Yes |
| TOTAL WORKS | 1 |
| TOTAL CITATIONS | 0 |
| WORKS AS AUTHOR | 1 |
| WORKS AS EDITOR | 0 |
| FIRST PUBLICATION YEAR | 2022 |
| LATEST PUBLICATION YEAR | 2022 |
| H-INDEX | 0 |
Stanley Kwan’s Center Stage
Chinese-language film studies have paid scant attention to the intersection of feminism and postmodernism. This article argues that Stanley Kwan’s Center Stage (1991), a film with a female protagonist and a postmodern narrative format, is demonstrably a feminist film. The parodic representation of protagonist Ruan Lingyu and the film’s scripted re-enactments of scenes from Hong Kong cinema are revealed as postmodern aesthetic processes, through w…
No prominent works on this page.
Stanley Kwan’s Center Stage
Chinese-language film studies have paid scant attention to the intersection of feminism and postmodernism. This article argues that Stanley Kwan’s Center Stage (1991), a film with a female protagonist and a postmodern narrative format, is demonstrably a feminist film. The parodic representation of protagonist Ruan Lingyu and the film’s scripted re-enactments of scenes from Hong Kong cinema are revealed as postmodern aesthetic processes, through w…
Aesthetics (1 work) · Anthropology (1 work) · Art (1 work) · Art history (1 work) · Cinema and Media Studies (1 work) · Feminism (1 work) · Gender Studies (1 work) · Hong Kong and Taiwan Politics (1 work) · Law (1 work) · Literature (1 work)