The Telos Press Podcast: Vivian Lee on the Urban Space of Hong Kong Cinema

In today’s episode of the Telos Press Podcast, David Pan talks with Vivian P.Y. Lee about her article “The City in Flux: Toward an Urban Topology of Hong Kong Cinema,” from Telos 197 (Winter 2021). An excerpt of the article appears here. In their conversation they discuss Hong Kong’s urban space and its cinematic reinventions; the relationship between cinematic space and disappearance; the cinematic lineage of Patrick Lung and John Woo, and their different depictions of modern urban institutions and individual heroes; the use of nostalgia in film to reveal darker realities of the dystopian present; how post-Umbrella Movement films have created new forms of production and distribution; the present and future of Hong Kong cinema; and the ways in which filmmakers have turned the city of Hong Kong into a protagonist. If your university has an online subscription to Telos, you can read the full article at the Telos Online website. For non-subscribers, learn how your university can begin a subscription to Telos at our library recommendation page. Print copies of Telos 197 are available for purchase in our online store.

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The Telos Press Podcast: Xuesong Shao on Wang Xiaoshuai’s “Third Front Trilogy”

In today’s episode of the Telos Press Podcast, David Pan talks with Xuesong Shao about her article “Restoring and Reimagining Socialist-Built Cities: Wang Xiaoshuai’s ‘Third Front Trilogy,’” from Telos 197 (Winter 2021). An excerpt of the article appears here. In their conversation they discuss the history of the Third Front Movement in China; how migration is depicted in Wang Xiaoshuai’s Third Front trilogy; the article’s approach to the issue of nostalgia; the relationship of nostalgia and ruination in Red Amnesia; the ways in which Wang Xiaoshuai uses the male gaze to reinforce gender stereotypes; the personal versus the historical in Eleven Flowers and how elusive personal recollections align with the master narratives of the nation-state; and the different ways that Wang Xiaoshaui and Jia Zhangke depict places of memory and places of history. If your university has an online subscription to Telos, you can read the full article at the Telos Online website. For non-subscribers, learn how your university can begin a subscription to Telos at our library recommendation page. Print copies of Telos 197 are available for purchase in our online store.

Listen to the podcast here.

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Telos 197 (Winter 2021): The Modern City in World Cinema

Telos 197 (Winter 2021): The Modern City in World Cinema, edited by Jaimey Fisher and Sheldon Lu, is now available for purchase in our store. Individual subscriptions to Telos are also available in both print and online formats.

The theme of this special issue of Telos is the modern city in world cinema. Its various essays examine the depiction of cities and their constitutive contexts through the lens of critical theory, political theory, cultural theory, and film theory. The contributors tackle a range of topics: the experience of modernity in urban contexts; cities in relation to civil society and the public sphere; the metropolis and cosmopolitanism; the urban/rural divide; cities and gendered, racial, and class divides; urban planning and urban space; film as a particular medium, with specific parameters, in the broader age of media; film as mass entertainment and as revolutionary propaganda. Even with this wide range of topics and their themes, there are many more to be explored, herein and elsewhere, so complex and rich are the relations of the urban to the cinematic.

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The Korean Wave and the Impasse of Theory

Peter Yoonsuk Paik’s “The Korean Wave and the Impasse of Theory” appears in Telos 184 (Fall 2018), a special issue on Korea. Read the full article at the Telos Online website, or purchase a print copy of the issue in our online store. Individual subscriptions to Telos are available in both print and online formats.

South Korean popular culture has achieved startling success across much of the globe during the past decade. The first transnational form of popular culture that is not the legacy of an imperial project, the efforts to understand the significance of the “Korean wave” have been hampered by dominant scholarly approaches in the humanities that are not capable of grasping both its emergence and its appeal. This article argues that a key reason for the appeal of South Korean television and film is the fact that they explore the clash between tradition and modernity. South Korean media resonates with peoples across the world who are living out the conflicts between tradition and modernity and are thus eager for models for negotiating the competing demands of the two.

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Telos 184 (Fall 2018): Korea: Modernity and Culture

Telos 184 (Fall 2018), a special issue on Korea, edited by Haerin Shin, is now available for purchase in our store.

While Korea’s history as a modern nation-state has always been a tumultuous reel of socio-political unrest, never has it drawn the globe’s attention to the degree and extent to which the press coverage of the past two years attests. South Korea’s candlelight demonstrations in the fall of 2016 were widely regarded as a newly arisen form of celebratory civil protest culture, and news of the progressive party’s subsequent rise to power stood out amid the global turn toward conservative politics. Meanwhile, with North Korea’s nuclear threat becoming a palpable reality, media outlets began clamoring with predictions of a major military outbreak across the Pacific. (I remember being inundated by concerned emails from acquaintances abroad during my breaks in South Korea last year.) Then came the dramatic shift toward prospects of denuclearization and North–South collaboration this past summer. Millions watched in awe as Kim Jong Un took President Moon’s hand and walked over the Military Demarcation Line. The meeting in Singapore was viewed with skepticism in the United States, but more pertinently such attempts to reestablish channels of communication were greeted warmly in South Korea.

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Interstellar and the Environmental Crisis

Christopher Nolan’s Interstellar paints the portrait of a brave new time in the future when we will finally cut the shackles attaching us to our dying home planet and embrace our nomadic nature. Having turned the earth into a gigantic dust bowl, where the soil is increasingly barren and the air unbreathable, we will move on to greener pastures, in the shape of as yet unpolluted planets in faraway galaxies. After all, why shouldn’t planets be more like paper tissues—one soiled and tossed, another one already on the way?

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