The sacred, the profane, and the domestic in Cui Zi'en's cinema

Positions

Volumn 12, Issue 1, 2004, Pages

  Berry, Chris ^a  

^a UNIVERSITY OF CALIFORNIA   (United States)

Author keywords

[No Author keywords available]

Indexed keywords

EID: 34247657887     PISSN: 10679847     EISSN: 15278271     Source Type: Journal    
DOI: 10.1215/10679847-12-1-195     Document Type: Article

References (5)

1. I have discussed this further in "Asian Values, Family Values: Film, Video, and Lesbian and Gay Identities," in Gay and Lesbian Asia: Culture, Identity, Community, ed. Gerard Sullivan and Peter A. Jackson (New York: Harrington Park, 2001)
2. simultaneously published in Journal of Homosexuality 40, (2001): 211-33
3. On family dynamics in Tsai Ming-liang's work, see Chris Berry, "Where Is the Love? The Paradox of Performing Loneliness in Vive L'amour" in Falling for You: Essays on Cinema and Performance, ed. Lesley Stern and George Kouvaris (Sydney: Power Institute Press, 1999), 147-77
4. and Fran Martin, "Vive l'amour: Eloquent Emptiness," in Chinese Films in Focus: Twenty-Five New Takes, ed. Chris Berry (London: British Film Institute, forthcoming)
5. Sheldon Hsiao-Peng Lu, "Introduction: Chinese Cinemas (1896-1996) and Transnational Film Studies," in Transnational Chinese Cinemas: Identity, Nationhood, Gender (Honolulu: University of Hawaii Press, 1997), 10-11