Defining Amoy-dialect cinema

Taylor, Jeremy E.

doi:10.4324/9781003061205-2

Cited by 2 publications

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“…Such diverse ways of building connections in and among Hokkien diaspora and Mainland China have also been well researched in other scholars' works. For example, Wickberg (2006), Taylor (2011) and Wang (2016b) employ the concept of 'Hokkien Quadrangle' to refer to the four corners in the Hokkien networks. They argue that there are multiple ways of making connections and disconnections among these Hokkien-populated localities.…”

Section: Theory and Methodsmentioning

confidence: 99%

“…For instance, the PRC reinvented liyuan opera, made them into Hokkien dialect films and intended to export a socialist interpretation of the performances to the Hokkien populations in Southeast Asia. However, such efforts were stymied as the filmmaking industry in colonial Hong Kong and Nationalist Taiwan formed a strong anti‐Communist bastion to write off PRC's soft power influence in Southeast Asia (Taylor, 2011, 2018). In places that maintained strong Nationalist presence and were US allies, such as the Philippines, Taiwanese theatrical troupes were dispatched to battle for the hearts and minds of diasporic Chinese through anti‐Communist campaigns and theatrical tours (Kung 2018: 198; Taylor 2018: 177; Stenberg 2020: 70).…”

Section: Introductionmentioning

confidence: 99%

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Negotiating Routes and/or Roots: Heritagisation of nanyin in China and Singapore, 1970s to 2010s

Zhang

2023

Asia Pacific Viewpoint

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Originated in southern China, nanyin (南音) is regarded as ‘the sound of motherland’ (乡音) performed and loved by the Hokkien dialect speakers in Mainland China, Taiwan, Hong Kong, Macau, and diasporic populations living in Southeast Asia. Having thrived in transnational spaces, nanyin is now celebrated as a shared heritage in China and Southeast Asian countries, such as Singapore. This paper explores the process of heritage‐making, that is, the ways in which the art form and cultural practice of nanyin have been re‐shaped and re‐appropriated by the diasporic communities and the native place to articulate different understandings of the Chinese identity in their distinct nation‐state frameworks. In this ambivalent entanglement, China has re‐appropriated the diasporic history of nanyin to gain international recognition and build soft power through United Nations Educational, Scientific and Cultural Organization. In Singapore, the Siong Leng Music Association has actively engaged in the heritage‐making of nanyin, leading to the creation of a unique Singapore brand that speaks to hybridity and cosmopolitanism, in the same way as the re‐construction of their Chinese identity. Examining the two processes of heritagisation of nanyin along the China‐Singapore ‘heritage corridors’, the paper argues that the two ends are connected in important ways but always seek to maintain distance to articulate their own cultural representations at international stages. Thus, nanyin through a comparative perspective enables a critical examination of issues of centre versus periphery, authenticity, and hybridity in the Sinophone world.

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Section: Theory and Methodsmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

Negotiating Routes and/or Roots: Heritagisation of nanyin in China and Singapore, 1970s to 2010s

Zhang

2023

Asia Pacific Viewpoint

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“…For a historical overview and Hong Kong cinema's transnational and border-crossing nature, see Law and Bren 2004. About Hong Kong cinema's in uence from Southeast Asia during the Cold War era, see Tan 2010;Taylor 2011. About its Japanese in uence, see Yau 2009.…”

Section: Articlesmentioning

confidence: 99%

Listening to New China: The Art-Tune Records Company, Cultural Propaganda, and Music Transplantation in Early Cold War Hong Kong (1950s-1960s)

Tao¹

2022

chinaperspectives

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This paper explores how the Art-Tune Records Company (Yisheng changpian gongsi 藝聲唱片公司 ), a Hong Kong-based private corporation and a shadow agent of the People's Republic of China (PRC)'s China Records Factory, fostered the circulation of Chinese music to Hong Kong and Overseas Chinese audiences in the 1950s and 1960s. Against the colonial government's political censorship and US-imposed sanctions on the PRC, Art-Tune sought to remaster and reproduce the recordings of China Records Factory by deploying tactics of depoliticisation and underscoring Chineseness. It also delivered gramophone music with multiregional and multilingual versions to foster listeners' emotional sympathy with cultural China and the new PRC regime. The successful migration of PRC music abroad contributed to dynamic intermedia practice with the reformulation of socialist Chinese music into Hong Kong martial arts movies. The paper discusses how socialist music was transformed from a propaganda medium to Chinese symbols that appealed to diasporic Chinese across Cold War geopolitical divides.

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Defining Amoy-dialect cinema

Cited by 2 publications

References 0 publications

Negotiating Routes and/or Roots: Heritagisation of nanyin in China and Singapore, 1970s to 2010s

Negotiating Routes and/or Roots: Heritagisation of nanyin in China and Singapore, 1970s to 2010s

Listening to New China: The Art-Tune Records Company, Cultural Propaganda, and Music Transplantation in Early Cold War Hong Kong (1950s-1960s)

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