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

Landlocked

archetype

Pop-orientalism and the Asian Star Body: Rain and the Transnational Hollywood Action Movieappeared in Hollywood action movies, . (James McTeigue, 2009) and . (Steven Sommers, 2009), respectively. This unprecedented visibility of Korean male stars in Hollywood action movies is being driven by the growing importance of the Asian film and media market. The sharp growth of Asian media entert

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National Idols? The Problem of ‘Transnationalizing’ Film Stardom in Japan’s Idol Economyented approach. While reception studies, and particularly fan studies, remain important for our understanding of idol consumption, I suggest that an industry-based focus can more clearly illuminate some of the obstacles in transforming Japanese idols from successful, domestic ‘multi-media’ stars int

使混合

Zhang Ziyi: The New Face of Chinese Femininityd by director Zhang Yimou, who cast her as the female lead in . (literally, my father and mother, 1999). She was immediately picked up by Ang Lee and appeared in her breakthrough role in . (2000). This chapter examines the stardom of Zhang Ziyi, comparing her star image in the West with that of her

Metastasis

Maggie Cheung, ‘une Chinoise’: Acting and Agency in the Realm of Transnational Stardom’ meta-filmic remake of Louis Feuillade’s serial . (1915, France). In Assayas’ film, Vidal is an ageing director, who is also in the process of remaking the classic French serial, but has taken the decision to cast Hong Kong actress Maggie Cheung (playing herself) in the eponymous role. Vidal offers

發(fā)牢騷

Joan Chen: National, International and Transnational Stardomshe remains critically underexplored, despite having appeared in films by three generations of Chinese directors, Hong Kong New Wave directors (e.g. Stanley Kwan), internationally known directors from the Chinese diaspora (e.g. Wayne Wang and Ang Lee), and highprofile international film-makers (e.g.

guardianship

吹牛大王

LAST

Too Late the Hero? The Delayed Stardom of Donnie Yens place’ (2003, 140). I was, of course, aware of and admired Donnie Yen, but he had been unable to establish himself as a leading man and the route to stardom through ‘a(chǎn)uthentic’ martial arts ability was visibly closing. Sabrina Qiong Yu also places Li at the top of the kung fu mountain, describing

fringe