Border-crossing and the narrative of the minor: Midi Z's The Road to Mandalay.
- Published in:
- Asian Cinema, 2021, v. 32, n. 1, p. 19, doi. 10.1386/ac_00031_1
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- Article
Works matching IS 1059440X AND DT 2021 AND VI 32 AND IP 1
Results: 8
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Foreign ideas, native spaces: Crime and Punishment in recent Asian cinema.
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- Asian Cinema, 2021, v. 32, n. 1, p. 75, doi. 10.1386/ac_00034_1
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- Article
3
Hooligan Sparrow: Representation of sexual assault in Chinese cinema, feminist activism and the limits of #MeToo in China.
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- Asian Cinema, 2021, v. 32, n. 1, p. 55, doi. 10.1386/ac_00033_1
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- Article
4
Storming off the tracks: Zombies, high speed rail and South Korean identity in Train to Busan.
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- Asian Cinema, 2021, v. 32, n. 1, p. 37, doi. 10.1386/ac_00032_1
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- Article
5
Sentimental journey? The drifting rhythms of Tsai Ming-liang's Journey to the West.
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- Asian Cinema, 2021, v. 32, n. 1, p. 3, doi. 10.1386/ac_00030_1
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- Article
6
The critique of anti-communist state violence in Uncle Boonmee Who Can Recall His Past Lives.
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- Asian Cinema, 2021, v. 32, n. 1, p. 95, doi. 10.1386/ac_00035_1
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- Article
7
The Early Transnational Chinese Cinema Industry, Fu Yongchun (2019).
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- Asian Cinema, 2021, v. 32, n. 1, p. 118, doi. 10.1386/ac_00037_5
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- Article
8
Worldly Desires: Cosmopolitanism and Cinema in Hong Kong and Taiwan, Brian Hu (2018).
- Published in:
- Asian Cinema, 2021, v. 32, n. 1, p. 113, doi. 10.1386/ac_00036_5
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- Article