One of the sloppier—and disturbingly frequent—critical lapses on either end of the ideological spectrum is to confuse modernization with Westernization. Some 20 years ago, Leo Ou-fan Lee’s Shanghai Modern sweepingly linked Eileen Chang’s novels, Ruan Lingyu’s films, jazz music in the dance halls, and graphic design in advertising and popular magazines not as local knock-offs…
I have sat through dozens of Chinese toasting banquets, raised glasses with Communist Party officials and even—God help me—gone shot-for-shot with soldiers from the People’s Liberation Army. So I can hold my baijiu. If you want to know if I enjoy it, that’s another matter entirely.
Mention Japanese film and responses will likely range from the 1950s Golden Age to today’s panoply of genre movies. The variance has less to do with conflicts between artistry and populism—even Kurosawa famously trafficked in samurai—than with context and perspective. International acclaim, whether past or present, offers only a limited vista on a country’s internal…
Earlier this year, a fire broke out in the Chinatown archive of New York’s Museum of Chinese in America, spurring a tremendous outpouring of sympathy and support from those fearing that a crucial chapter in the nation’s history was lost forever. A few days later, newspaper reports from that normally bustling neighborhood indicated that, due…
It is no small irony that this survey of courtyard homes in the Asia Pacific region by Charmaine Chan, design editor of the South China Morning Post, has no inclusions from Hong Kong. For such a property-minded city where space is generally designated in vertical terms, one of Chinese architecture’s most traditional elements has become…
More than a decade ago, when my wife and I first published a pocket-sized English translation of the Chinese almanac for the launch of New York’s Museum of Chinese in America, we reached out to a prominent Hong Kong publisher who held the rights. He immediately insisted on meeting us, partly intrigued that such a…
Author and memoirist Fatima Bhutto’s slender but potent volume for Columbia Global Reports (an imprint from Columbia University devoted to long-form journalism), surveys a shift in global popular culture in which America’s soft-power dominance is facing challenges from local art forms.
History has a way of inspiring quirky fanfiction. Back in the 1980s, Terry Johnson’s play (later Nicolas Roeg’s film) Insignificance imagined an evening where Marilyn Monroe (or as she was called simply, “The Actress”) finds herself thrown together with Albert Einstein (“The Scientist”), Joseph McCarthy (“The Senator”) and Joe DiMaggio (“The Ballplayer”), who collectively spin…
Even if Philip Jablon had kept strictly to his original premise of documenting Thailand’s purpose-built movie theatres—an obsession he claims first took hold in 2008—this volume would’ve filled a worthy niche. From the book’s earliest temple of celluloid, Bangkok’s Prince Theatre from 1912, Jablon’s photographs capture a wealth of 20th-century architectural styles, from Bangkok’s tropical…
Since the cinema that served as modern Hong Kong’s introduction to the world was such a hodgepodge of triad gangsters, crooked cops, ghosts, prostitutes and clueless romantics—sometimes all in the same film—one should hardly be surprised when a literary anthology shows the same genre-busting proclivities. Hong Kong Noir, the latest in a lengthy list of…