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Contemporary Sino-French CinemasAbsent Fathers, Banned Books, and Red Balloons$
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Michelle E. Bloom

Print publication date: 2016

Print ISBN-13: 9780824851583

Published to Hawaii Scholarship Online: November 2016

DOI: 10.21313/hawaii/9780824851583.001.0001

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PRINTED FROM HAWAII SCHOLARSHIP ONLINE (www.hawaii.universitypressscholarship.com). (c) Copyright Hawaii University Press, 2021. All Rights Reserved. An individual user may print out a PDF of a single chapter of a monograph in HSO for personal use.date: 23 July 2021

Introduction to Contemporary Sino-French Cinemas

Introduction to Contemporary Sino-French Cinemas

Chapter:
(p.1) Introduction to Contemporary Sino-French Cinemas
Source:
Contemporary Sino-French Cinemas
Author(s):

Michelle E. Bloom

Publisher:
University of Hawai'i Press
DOI:10.21313/hawaii/9780824851583.003.0001

This overview of the Sino-French begins with the 2010 Sino-French Co-Production Treaty, which encourages collaboration despite Chinese censorship. Delineation of the geographic and linguistic parameters of the Sino-French and the scope of this work is integrated into an examination of semantics. The focus lies on mainland and Taiwanese helmed films, with Sinophone directors tending to connect with metropolitan France and specifically Paris, not with the greater Francophone world. A brief survey of French directed films, including the first Franco-Chinese collaboration, mid-century, reveals Orientalist visions from 1903 to the present. French Cinema, and especially the New Wave, serves as the Taiwanese New Wave’s absent father, with Taiwanese directors tending toward self-reflexive, auteurist visions of Paris, whereas Chinese filmmakers use France as a foil to critique the plight of mainlanders. Ultimately, the Sino-French, a hybrid form, blurs the boundaries between mainstream and auteur film, like borders between nations, languages and arts.

Keywords:   Sino-French, Sinophone, Francophone, censorship, French Concession, semicolonialism, French New Wave, mainstream, auteur

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