World Cinema and the Visual Arts

203 Pages·2013·3.787 MB·English

by  David Gallagher

World Cinema and the Visual Arts

World Cinema
and the Visual Arts
Edited by
David Gallagher
Anthem Press
An imprint of Wimbledon Publishing Company
www.anthempress.com
This edition first published in UK and USA 2012
by ANTHEM PRESS
75-76 Blackfriars Road, London SE1 8HA, UK
or PO Box 9779, London SW19 7ZG, UK
and
244 Madison Ave. #116, New York, NY 10016, USA
© 2012 David Gallagher editorial matter and selection;
individual chapters © individual contributors
The moral right of the authors has been asserted.
All rights reserved. Without limiting the rights under copyright reserved above,
no part of this publication may be reproduced, stored or introduced into
a retrieval system, or transmitted, in any form or by any means
(electronic, mechanical, photocopying, recording or otherwise),
without the prior written permission of both the copyright
owner and the above publisher of this book.
British Library Cataloguing-in-Publication Data
A catalogue record for this book is available from the British Library.
Library of Congress Cataloguing-in-Publication Data
World cinema and the visual arts / edited by David Gallagher.
p. cm.
Includes bibliographical references and index.
ISBN 978-0-85728-438-9 (hardback : alk. paper)
1. Motion pictures–Aesthetics. 2. Visual arts. I. Gallagher, David.
PN1995.25.W67 2012
791.4301–dc23
2011050716
ISBN-13: 978 0 85728 438 9 (Hbk)
ISBN-10: 0 85728 438 X (Hbk)
This title is also available as an eBook.
TABLE OF CONTENTS
Preface vii
Notes on Contributors ix
List of Figures xiii
Introduction xv
Chapter 1 Projecting a More Habitable Globe: Hollywood’s
Yellow Peril and Its Refraction onto 1930s Shanghai
National Cinema 1
Lily Wong
Chapter 2 Berlin – The City of Sound and Sensation in
Fritz Lang’s M and E. A. Dupont’s Varieté 19
Isa Murdock-Hinrichs
Chapter 3 Bond’s Body: Diamonds Are Forever, Casino Royale
and the Future Anterior 41
Shelton Waldrep
Chapter 4 Whatever You Say, Say Nothing 59
Anna Zaluczkowska
Chapter 5 Imperial Gazes, Hollywood Predators:
A Cinema of Molestation in Postcolonial
Indian Literature 73
Jerod Ra’Del Hollyfi eld
Chapter 6 Linguistic Identity in Fruit Chan’s 1997 Trilogy 89
Howard Y. F. Choy
Chapter 7 The Postnational and the Aesthetics of the Spectral:
Hou Hsiao-Hsien’s Flight of the Red Balloon 99
Je Cheol Park
vi WORLD CINEMA AND THE VISUAL ARTS
Chapter 8 The Art Object as Text in the Practice of
Comparative Visuality 109
Jane Chin Davidson
Chapter 9 Exploring In-humanity: Gertrude Stein’s
Tender Buttons and Still-Life Painting 129
Nandini Ramesh Sankar
Chapter 10 Re-defining Art: Manuel Rivas’ Mujer en el baño 139
Ana-María Medina
Chapter 11 Re-envisioning the Haunting Past: Kara Walker’s
Art and the Re-appropriation of the Visual Codes
of the Antebellum South 153
Minna Niemi
Bibliography 163
Index 173
PREFACE
The annual meeting of the American Comparative Literature Association
took place on April 1–4, 2010 in New Orleans, Louisiana attracting over
2,000 scholars from around the world. Using the Hotel Monteleone as its
official conference base, seminars were organised across New Orleans at
the hotels Astor, Bienville and Monteleone, as well as Arnaud’s Restaurant
in the French Quarter. A number of the panels focused on the subject of
contemporary cinema and the visual arts. The panels from which the papers
in this volume were assembled were: ‘Being-in-the-World: Chinese Cinema
and its Cosmopolitan Perspectives’, ‘Berlin’s Imagined Geographies’, ‘Just
Memory: Utopian Fiction and Abraxian History’, ‘National Traumas,
Diasporic Encounters: Violence, Memory, and Literary/Visual Culture’,
‘Post/colonial Film: Imaging Identity and Resistance’, ‘Made in Hong Kong:
Language, Literature and Film from a City in Search of Itself’, ‘Affectivity
and Aesthetics of the Postnational across Literature, Cinema, and Theory’,
‘Comparative Literature: From Practice to Theory’, ‘Reading Between the
Arts: Multi-Media, Aisthesis, and Interart Studies’, ‘Intermediality after 1900’,
‘Re-defining art: Artistic genres in literary works’, and ‘The Hidden Voice:
Cross-Cultural Women’s Autobiographical Novels’.
Following the conference, and thanks to the assistance of the principal
conference organiser, Dr Elizabeth Richmond-Garza, a call for papers was
facilitated, from which the editor selected the best abstracts thematically
for their relevance to contemporary cinema and the visual arts, and
these consisted of the most excellently written and most suitable taking
into account principally three criteria: argument, structure and theme.
The selection process continued as draft papers were then submitted and
reviewed, subjected to a strict judging process before it was decided to
accept the papers to be included in the present volume. Contributors were
then invited by the editor to spend further months revising, amending and
researching their draft papers throughout 2011 with a view to completing
them within around six months and submitting their final submissions to the
editor in August/September of 2011.

NOTES ON CONTRIBUTORS
Lily Wong is a PhD candidate in comparative literature at the University of
California at Santa Barbara, specialising in Chinese and Sinophone popular
culture, gender and sexuality, and film and media studies. She has been
published in journals including Pacifi c Affairs and China Review International. Her
current research pays close attention to affective economies, historical writing,
and the media formation of trans-pacific Sinophone communities.
Isa Murdock-Hinrichs received her PhD from the University of California,
San Diego, where she is currently a lecturer. She has published on the New
German Cinema, in particular Fassbinder and Weimar film and culture. Her
research interests include film theory and history, as well as theories of space
and aesthetics, Weimar cinema, literature and culture.
Shelton Waldrep is professor of English at the University of Southern
Maine. He is the author of The Aesthetics of Self-Invention: Oscar Wilde to David
Bowie (University of Minnesota Press, 2004), the co-author of Inside the Mouse:
Work and Play at Disney World (Duke University Press, 1995), and the editor of
The Seventies: The Age of Glitter in Popular Culture (Routledge, 2000). His latest
book is entitled The Dissolution of Place: Architecture after Postmodernism, and is
forthcoming from Ashgate.
Anna Zaluczkowska is a senior lecturer and programme leader for media,
writing and production at the University of Bolton, England. She is an
award-winning filmmaker and writer and her works have been screened at
film festivals throughout the world, on television, in museums and at live
events. She started work as an editor working for a number of franchised
workshops where she edited documentary and drama projects on video and
16mm film. She went on to produce several educational programmes, short
films and documentaries before taking an interest in writing. After taking an
MA in writing at Sheffield Hallam University, Anna worked at the Arvon
Foundation as a centre director while developing her writing skills. She has