Synopses & Reviews
The words andldquo;Asian American filmandrdquo; might evoke a painfully earnest, low-budget documentary or family drama, destined to be seen only in small film festivals or on PBS (Public Broadcasting Service). In her groundbreaking study of the past fifty years of Asian American film and video, Jun Okada demonstrates that although this stereotype is not entirely unfounded, a remarkably diverse range of Asian American filmmaking has emerged. Yet Okada also reveals how the legacy of institutional funding and the andldquo;PBS styleandrdquo; unites these filmmakers, whether they are working within that system or setting themselves in opposition to its conventions. and#160;
and#160;Making Asian American Film and Video explores how the genre has served as a flashpoint for debates about what constitutes Asian American identity. Tracing a history of how Asian American film was initially conceived as a form of public-interest media, part of a broader effort to give voice to underrepresented American minorities, Okada shows why this seemingly well-intentioned project inspired deeply ambivalent responses. In addition, she considers a number of Asian American filmmakers who have opted out of producing state-funded films, from Wayne Wang to Gregg Araki to Justin Lin.and#160;
and#160;Okada gives us a unique behind-the-scenes look at the various institutions that have bankrolled and distributed Asian American films, revealing the dynamic interplay between commercial and state-run media. More than just a history of Asian Americans in film, Making Asian American Film and Video is an insightful meditation on both the achievements and the limitations of institutionalized multiculturalism.and#160;
Review
andquot;Wong's sharp, clever, and highly knowledgeable account provides a dazzling and dynamic look at the world film festival scene. This long overdue insider approach mixes the practical and the personal in a winning, original fashion.andquot;
Review
andquot;This is an insightful, engaging, and meticulously researched investigation covering the most recent trends in international film festivals from Venice and Cannes to Hong Kong and Pusan. Wong's book contributes enormously to our understanding of film festivals as a vital aspect of global motion picture culture.andquot;
Review
andquot;This book is both an excellent introduction to and in-depth analysis of the world of film festivals. Wongandrsquo;s book offers both a big picture view of the role of festivals within the global film industry and a close-up scrutiny of specific events, films and people to give a sense of the culture-making activity that happens in these spaces. An essential read for those who are interested both in the global dimensions of the industry, as well as in parsing out the cultural political nuances of particular sites.andquot;
Review
andquot;
Making Asian American Film and Video tells the fascinating and significant story of the emergence of Asian American film and video within the wider media culture of the United States.andquot;
Review
andquot;Both a hip guide to movies for your queue and an incisive commentary on the ways we (filmgoers, critics, TV executives, and others) use movies and TV to talk about race, sex, and class. Okada makes Asian American film fun again.andquot;
Review
Institutional context provides Okada with the framework for her illuminating study of Asian American filmmaking from its roots in the early 1970s to the present. and#160;She writes in her introduction that andquot;rather than using ... traditional perspectives as paths toward definition [she] defines Asian American film and video as that which is interwoven with the rise of public broadcasting and thereby identified intimately and inextricably with questions about institutional parameters, funding, programming, and artistic freedom.andrdquo; and#160;In the volumeand#39;s six chapters, Okada provides readings of films and filmmakers including Chan Is Missing, Terminal USA, Gregg Araki, and Justin Lin. According to Okada, and#160;that andldquo;Asian American filmmakers continue to be concerned with identity in a so-called postracial society is significant to understanding that Asian American film and video has had powerful residual effects. and#160;That these films make institutionality central to their discourse on the historical and ongoing process of making Asian American film and video underlines the idea that it is the institution that binds together, creates tension within, and gives meaning to the genre.andquot;
Synopsis
Movies, stars, auteurs, critics, and the sheer excitement of cinema come together in film festivals as quintessential constellations of art, business, and glamour. Yet, how well do we actually understand the forces and meanings that these events embody?
Film Festivals offers the first comprehensive overview of the history, people, films, and multiple functions of the festival world. From Sundance to Hong Kong, from the glitter of Cannes to edgier festivals that challenge boundaries or foster LGBTQ cultural production, film festivals celebrate art, promote business, bring cinema to diverse audiences, and raise key issues about how we see our world. Cindy Hing-Yuk Wong situates festivals within changing global practices of film, including their important ties to both Hollywood and independent cinema. She explores how these events have become central in the construction of cinema knowledge as well as the behind-the-scene mechanics of finance, distribution, and evaluation. By linking general structures and connections to specific films and auteurs, Wong addresses the components and creation of film festivals that continue to reshape filmmaking as art and business.
Synopsis
Making Asian American Film and Video gives readers a unique behind-the-scenes look at the various institutions that have bankrolled and distributed the genre over the course of its fifty year evolution. Jun Okada explores how state-run media outlets like PBS served as crucial support for Asian American films, but also imposed limitations. In addition, she considers a number of Asian American filmmakers who have opted out of producing state-funded films, from Wayne Wang to Gregg Araki to Justin Lin.and#160;and#160;
About the Author
Cindy Hing-Yuk Wong chairs the Department of Media Culture at the College of Staten Island, City University of New York. She is the coauthor of Global Hong Kong and coeditor of the Encyclopedia of Contemporary American Culture.
Table of Contents
Acknowledgments
Introduction
1. History, Structure, and Practice in the Festival World
2. The Films of the Festivals
3. Auteurs, Critics, and Canons: Extratextual Elements and the Construction of Festival Films
4. Film Festivals and Film Industries
5. Festivals as Public Spheres
6. The Hong Kong International Film Festival as Cultural Event
Conclusion
Notes
Bibliography
Filmography
Index