Remaking Gender and the Family : Perspectives on Contemporary Chinese-Language Film Remakes.

Intro -- Contents -- Acknowledgements -- 1 Introduction -- Defining a Remake -- Originality, Similarity and Cross-Culturality -- The Cross-Cultural Remake -- Franco-American Exchanges -- Remaking Images of Japan -- Remakes in Chinese-language Cinema -- Gendering Remakes -- Gender in Franco-American Remakes -- Chinese Remakes and Gender -- Aims and Structure of This Book -- 2 Remaking the Modern Family -- The Construction of Gender in What Women Want -- Good, Ol' Fashioned Masculinity: Men in What Women Want (2000) -- The New Chinese Man: Remaking Masculinity in What Women Want (2011) -- Performing Gender in What Women Want -- What Do Women Want? Femininity in What Women Want -- What Do Chinese Women Want? -- Sexuality in What Women Want -- Freud and What Women Want -- Jung and What Women Want -- The Paratextual Construction of Gender in What Women Want -- The Family in What Women Want -- The 'Traditional' Chinese Family -- The 'Modern' Chinese Family -- Commerciality and the Modern Family -- Reflections -- 3 Gender, Genre and the Auteur -- The Coen Brothers' Blood Simple -- The Coen Brothers-American Auteurs -- Genre and Gender in Blood Simple -- The Failures of Masculinity -- Approaching the Femme Fatale -- Blood Simple Remade-A Woman, A Gun and a Noodle Shop -- Zhang Yimou-China's Most Acclaimed Director -- Making Audiences Laugh: Humour in China -- Symbols of Beijing/Peking Opera -- Gender in A Woman, A Gun and a Noodle Shop: A Lesson in 'Zhangification' -- Zhang Yimou and Gender -- Masculinity 'Zhang-ified' -- Femininity 'Zhang-ified' -- Reflections -- 4 Ghosts of Chinas Past and Present -- Locating A Chinese Ghost Story (1987) in Hong Kong Cinema -- Remaking A Chinese Ghost Story (2011) -- Manifestations of Gender and Sexuality in A Chinese Ghost Story -- The Legacy of Leslie Cheung.

Remaking Gender through Ning Caichen, the Fragile Scholar -- Yan, the Daoist Warrior in Love -- The Monstrous-Feminine and Dangerous Female Sexuality -- Looking and Being Looked at-the Gaze within A Chinese Ghost Story -- The Gaze Remade -- Forgetting History -- Reflections: The 'State' of Hong Kong and Chinese Cinemas -- Chapter 5 History Repeating in Spring in a Small Town -- Cultural Politics in Spring in a Small Town (1948) -- Social versus Critical Realism -- From Outlaw to Auteur-Fei's Post-1980s Transformation -- Reading Gender in Spring in a Small Town -- The Changing Politics of Cultural Policy: Springtime in a Small Town (2002) -- The Fifth Generation Directors -- Re-reading the Remake-Gender and Politics in Springtime in a Small Town -- Springtime in a Small Town-The Changing Nature of Gender, the Family and Allegory -- The Metaphor of the Family Home -- Springtime in a Small Town and Political Revolution -- Reflections -- 6 Remaking "China" -- Remakes and Perspectives on Being Chinese -- Remakes and Transnational Chinese-Language Cinema -- The Future of Remake Studies -- Glossary -- References -- Index.

In Remaking Gender and the Family, Sarah Woodland examines the complexities of Chinese-language cinematic remakes, exploring how source texts are reshaped for their new audiences, and focusing on how changes in representations of gender connect with perceived socio-cultural, political and cinematic values within China.

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Electronic reproduction. Ann Arbor, Michigan : ProQuest Ebook Central, 2024. Available via World Wide Web. Access may be limited to ProQuest Ebook Central affiliated libraries.