000			03166cam a2200373Ii 4500
001			ocn957126937
003			OCoLC
005			20240726105026.0
008			160820s2016 cc obq 000 0 eng d
040			_aEBLCP _beng _epn _erda _cEBLCP _dJSTOR _dP@U _dYDX _dOCLCQ _dOCLCO _dNT _dOCLCQ _dIDB _dOTZ _dMERUC _dOCLCQ _dIOG _dSNK _dDKU _dAUW _dINTCL _dIGB _dD6H _dVTS _dOCLCA
020			_a9789888313518 _q((electronic)l(electronic)ctronic)
020			_a9888313517 _q((electronic)l(electronic)ctronic)
050	0	4	_aPN1997 _b.T785 2016
049			_aMAIN
100	1		_aSee Kam, Tan, _d1958- _e1
245	1	0	_aTsui Hark's Peking opera blues /Tan See Kam.
260			_aHong Kong : _bHong Kong University Press, _c(c)2016.
300			_a1 online resource (248 pages).
336			_atext _btxt _2rdacontent
337			_acomputer _bc _2rdamedia
338			_aonline resource _bcr _2rdacarrier
347			_adata file _2rda
490	1		_aThe New Hong Kong cinema series
504			_a1 and filmography.
505	0	0	_aIntroduction : setting the scene -- _tAct 1. Story and structure -- _tAct 2. Warlords, history, and the democratic dream -- _tAct 3. Shanghai and Peking blues : fiction as imagined history -- _tAct 4. The shadowplay of attractions and painted faces -- _tAct 5. Three-women fiction, mandarin ducks and butterflies -- _tPostscript.
520	0		_aPart historical drama, part thriller, and part comedy, Tsui Hark's Peking Opera Blues (1986) invites--if not demands--examinations from multiple perspectives. Tan See Kam rises to the challenge in this study by first situating Tsui in a Sinophone context. The diasporic director explores different dimensions of "Chineseness" in the film by depicting competing versions of Chinese nationalism and presenting characters speaking two Chinese languages, Cantonese and Mandarin. In the process he compels viewers to recognize the multiplicities of the Chinese identity and rethink what constitutes cultural Chineseness. The challenge to a single definition of "Chinese" is also embodied by the playful pastiches of diverse materials. In a series of intertextual readings, Tan reveals the full complexity of Peking Opera Blues by placing it at the center of a web of texts consisting of Tsui's earlier film Shanghai Blues (1984), Hong Kong's Mandarin Canto-pop songs, the "three-women" films in Chinese-language cinemas, and of course, traditional Peking opera, whose role-types, makeup, and dress code enrich the meaning of the film. In Tan's portrayal, Tsui Hark is a filmmaker who makes masterly use of postmodernist techniques to address postcolonial concerns. More than a quarter of a century after its release, Tan shows, Peking Opera Blues still reverberates in the present time.
530			_a2 _ub
600	1	0	_aTsui, Hark, _d1950- --
655		1	_aElectronic Books.
856	4	0	_uhttps://search.ebscohost.com/login.aspx?direct=true&scope=site&db=nlebk&db=nlabk&AN=1286503&site=eds-live&custid=s3260518 _zClick to access digital title | log in using your CIU ID number and my.ciu.edu password
942			_cOB _D _eEB _hPN. _m(c)2016 _QOL _R _x _8NFIC _2LOC
994			_a92 _bNT
999			_c86418 _d86418
902			_a1 _bCynthia Snell _c1 _dCynthia Snell