Diaspora, pamięć i tożsamość – kino Ann Hui
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RIS BIB ENDNOTEDiaspora, pamięć i tożsamość – kino Ann Hui
Data publikacji: 20.02.2013
Przegląd Kulturoznawczy, 2012, Numer 4 (14) , s. 354 - 365
https://doi.org/10.4467/20843860PK.12.030.0993Autorzy
Diaspora, pamięć i tożsamość – kino Ann Hui
The diaspora, memory and identity – the films by Ann Hui
The aim of this article is to present the works of Ann Hui, one of the most eminent film directors of the Hong Kong New Wave. In her fi lms Hui focuses on such issues as memory, ethnic minorities, intercultural communication, and the impact of political factors on the characters’ everyday life. These problems are often addressed from a subjective or even autobiographical perspective, like in her most significant work, Song of the Exile, to which I devote most of my analysis. The film is a perfect illustration of a basic feature of the Hong Kong cinema of the late 20th century, namely, a particular attitude to time, a nostalgia best expressed by a notion of déjà disparu, or a “conviction that all that is new and unique nowadays has already come and gone, and there’s nothing left but clichés and the scraps of memories of the things that never existed” (Ackbar Abbas). The longing for the past that stems from a sense of loss and necessity to reconcile with the passing of things appears to be a characteristic feature not only of Chinese fi lm art, but of Chinese culture as such.
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Informacje: Przegląd Kulturoznawczy, 2012, Numer 4 (14) , s. 354 - 365
Typ artykułu: Oryginalny artykuł naukowy
Tytuły:
Diaspora, pamięć i tożsamość – kino Ann Hui
The diaspora, memory and identity – the films by Ann Hui
Uniwersytet Jagielloński w Krakowie, Instytut Sztuk Audiowizualnych, Kraków
Polska
Publikacja: 20.02.2013
Status artykułu: Otwarte
Licencja: Żadna
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