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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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Mixing It Up

Mixing It Up

The Hybridity of the Sino-French

Chapter:
(p.188) Conclusions Mixing It Up
Source:
Contemporary Sino-French Cinemas
Author(s):

Michelle E. Bloom

Publisher:
University of Hawai'i Press
DOI:10.21313/hawaii/9780824851583.003.0007

A form of transnational cinema, the Sino-French provides a paradigm for other hybrid conjugations and has room to expand. Oft banned mainlander Lou Ye’s Love & Bruises (2013), funded by the French, takes baby steps toward connecting with the Francophone by portraying the outskirts of Paris and even “province.” Lou casts Franco-Algerian actor Tahar Rahim as the male lead, albeit without defining the character as Arab. The Sino-French should become the Sino-Francophone, reaching out past a Paris defined by occidentalist clichés and beyond metropolitan France. In the meantime, contemporary transnational works such as Children of Men and Snowpiercer combine multiple national traditions. Historical and national context is nevertheless crucial to understanding crosscultural films including Michelangelo Antonioni’s Cultural Revolution era documentary, Chungkuo/Cine. Finally, whereas Sino-French literature already receives scholarly attention, future research should consider the other arts, including cuisine, the graphic novel, fashion, painting and their convergences.

Keywords:   Hybridity, Lou Ye, Tahar Rahim, Antonioni, Sino-French literature, food film, graphic novel, Sino-Francophone, transnational

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