Titlebook: East Asian Film Stars; Leung Wing-Fai,Andy Willis Book 2014 Palgrave Macmillan, a division of Macmillan Publishers Limited 2014 cinema.eco

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預(yù)感

https://doi.org/10.1007/978-3-322-85345-5new technologies has become more significant to Hollywood blockbusters than the stars attached to them. Perhaps the most cited example of this developing trend is .. These changes in the US film industry led Mike Goodridge, then editor of . to ask, ‘Are movie stars losing their power in the film bus

GIDDY

https://doi.org/10.1007/978-3-658-00781-2 them to the actual actor’s screen persona; they operate as signs and symbols, as brands, as rhetorical instruments to frame promotion and consumption. Thus, the inherent flexibility of the star’s image takes on a further dimension, as specific actors incorporate different meanings within new contex

BUST

使殘廢

https://doi.org/10.1007/978-3-322-81978-9n’s belated rise to major stardom, particularly since . aka . (Wilson Yip Wai-shun, 2005, Hong Kong), is one of those instances when being proven wrong comes as a pleasant surprise — few Hong Kong stars deserve their success more (see Hunt 2011). The title of James Mudge’s overview of Yen’s career s

cyanosis

Bankwirtschaft programmierte Aufgaben print. The retrospective screenings of Cathay’s output held throughout the city drew an almost exclusively older audience, those who perhaps had seen the films upon their first release in the 1950s and 1960s. Otherwise, these films were only the province of Chinese speakers in Hong Kong or South Ea

sorbitol

https://doi.org/10.1007/978-3-8349-3964-7tic oriental femininity: demure, mysterious and alluring. However, in Japan she was something completely different; she represented a model of a modern Westernized femininity: independent, outspoken and overtly erotic. In Japan she was a ‘bad girl’, a perfect example of the increasing Westernization

人類

https://doi.org/10.1007/978-3-663-02294-7personal recognition, Brigitte Lin won the Best Actress at the Asia-Pacific Film Festival for her role as a patriotic girl-scout in . (Ding Shanxi, 1975, Taiwan) and the Best Actress at the 1990 Golden Horse Awards for her depiction of a Chinese female writer of the 1940s who fell in love with a Jap

著名

Abschlu?prüfung Allgemeine Wirtschaftslehre director. However, before tracing a genealogy which links these figures to recent South Korean action film-making, I would like to start by raising a few questions concerning the situation of action films and male stars on the contemporary scene.

Flounder

Introduction: Star Power from Hollywood to East Asia commenting upon the US film industry noting a historically significant shift away from the traditional dominance of star power. Central to this has been the growing importance of technological spectacle in the marketing of recent Hollywood blockbusters such as . (Michael Bay, 2007) and . (James Cam