Ang Lee's Tears
Digital Global Melodrama in The Wedding Banquet, Hulk , and Gemini Man
Bibliographic Data
| ID | 19488795 |
|---|---|
| Authors | Hu Hu (0000-0003-2101-8317) |
| Year | 2021 |
| Volume | 7 |
| Issue | 2 |
| Pages | 151 |
| Publication date | 2021-01-01 |
| Peer Reviewed | Yes |
| Open Access | No |
| Type | ARTICLE |
| Venue | Verge Studies in Global Asias (JOURNAL) |
| Journal identifiers | ISSN: 2373-5058 • E-ISSN: 2373-5066 |
| Publisher | Project MUSE (PUBLISHER • US) |
| DOI | 10.5749/vergstudglobasia.7.2.0151 |
| OpenAlex | W3173842286 |
| Language | EN |
This essay reads three films across Ang Lee's eclectic oeuvre—The Wedding Banquet (1993), Hulk (2003), and Gemini Man (2019)—in terms of the director's ongoing experimentations with melodrama. In particular, Lee's film melodramas self-consciously dramatize the visualization and externalization of affective interiority. Whereas Lee's early Taiwanese American family melodramas (The Wedding Banquet) externalize diasporic interiority of Taiwanese bodies through forms of analog technology, his later CGI Hollywood melodramas (Hulk; Gemini Man) externalize this interiority through digitally manipulated bodies. In Lee's CGI melodramas, it is precisely the way bodies are under- or even un-marked—both indexically and racially—that allows them to typify not simply a national but a more global generic subject
Art · Art history · Banquet · Hollywood · Literature · Asian Culture and Media Studies · Cinema and Media Studies · Hong Kong and Taiwan Politics
| Citation velocity | historical |
|---|---|
| Highly cited | No |