Craziness and Carnival in Neo-Noir Chinese Cinema

Craziness and Carnival in Neo-Noir Chinese Cinema offers an in-depth discussion of the "stone phenomenon" in Chinese film production and cinematic discourses triggered by the extraordinary success of the 2006 low-budget film, Crazy Stone. Surveying the nuanced implications of the film noir genre, Harry Kuoshu argues that global neo noir maintains a mediascape of references, borrowings, and re-workings and explores various social and cultural issues that constitute this Chinese episode of neo noir. Combining literary explorations of carnival, postmodernism, and post-socialism, Kuoshu advocates for neo noir as a cultural phenomenon that connects filmmakers, film critics, and film audiences rather than an industrial genre.

Harry H. Kuoshu is Herring Endowed Chair in Asian Studies and Film Studies at Furman University, USA, where he teaches courses on Chinese film, literature, culture and language. In addition to scholarly articles, he is the author of Lightness of Being in China (1999), Celluloid China (2002), and Metro Movies: Cinematic Urbanism in Post-Mao China (2011).

Auteur

Harry H. Kuoshu is Herring Endowed Chair in Asian Studies and Film Studies at Furman University, USA, where he teaches courses on Chinese film, literature, culture and language. In addition to scholarly articles, he is the author of Lightness of Being in China (1999), Celluloid China (2002), and Metro Movies: Cinematic Urbanism in Post-Mao China (2011).

Texte du rabat

Craziness and Carnival in Neo-Noir Chinese Cinema offers an in-depth discussion of the stone phenomenon in Chinese film production and cinematic discourses triggered by the extraordinary success of the 2006 low-budget film, Crazy Stone. Surveying the nuanced implications of the film noir genre, Harry Kuoshu argues that global neo noir maintains a mediascape of references, borrowings, and re-workings and explores various social and cultural issues that constitute this Chinese episode of neo noir. Combining literary explorations of carnival, postmodernism, and post-socialism, Kuoshu advocates for neo noir as a cultural phenomenon that connects filmmakers, film critics, and film audiences rather than an industrial genre.

Harry H. Kuoshu is Herring Endowed Chair in Asian Studies and Film Studies at Furman University, USA, where he teaches courses on Chinese film, literature, culture and language. In addition to scholarly articles, he is the author of Lightness of Being in China (1999), Celluloid China (2002), and Metro Movies: Cinematic Urbanism in Post-Mao China (2011).

Contenu
List of IllustrationsPreface1. Introduction: Crazy Stone Phenomenon and Chinese Neo-Noir Comedies 1. Black Carnival: The Stone Phenomenon

2. Dog and King: To Configure Craziness 3. Darkness: Black Humor, Film Noir and Neo-noir

4. Modernity: Modernism, Postmodernism and Post-socialism

5. Laughter: Carnival Revelry and Darkness 6. Nihilism, Cynicism and Chinese Neo-noir

2. Prelude: Rehumanization Craziness and Traditional Noir

1. Modernist Craziness 2. Desperate Songstress: Cool, Rocking Darkness

3. Desperation: Self-chasing and Existential Modernism

4. Obsession: Activating Cultural Psychoanalysis

3. Discourses: Crazy Stone Dropped in a Postmodern Pond

1. Postmodernism

2. Grassroots 3. Carnival

4. Egao (Mischievous parody) *and *Shanzhai (Copycatting)

4. Films: Because of Crazy Stone

1. Lost & Found: Darkness for Sale

2. Stone Hitting on Swords: A Postmodern Masquerade

i. The Second Best: To Uncrown National Heroes

ii. Almost Perfect: A Doomed Search

iii. A Simple Noodle Story: Bright-color, Neo-noir Profanity

3. Happy: Idealism, Formalism and Bitter Laughter 4. Crazy Racer: To Build a Ning Hao Brand

5. Crazy Stupid Thieves: Connections with Hong Kong

5. Dual Retrievals of Cinematic Craziness: A Coda