Abstract
This paper problematizes the category of ‘Chinese cinema’ to ask if it adequately describes films made by independent Southeast Asian film-makers of Chinese ancestry which, for political and socio-historical reasons, may not be in Chinese language. It argues that diasporic Chinese film-makers’ works need to be repositioned within a discussion of the recent revival of film industries and the rise of digital technology and independent film-making in the region, in order to understand the tensions between cosmopolitan, nationalist or cultural ways of identification. Lastly, while digital technology has undoubtedly democratized film-making and contributed much to broadening the public sphere, most indie film-makers regard digital as a cheaper alternative to film and not as a new media format with its own aesthetic qualities worth exploring.
Sign-in/Register to access full text options 
Talk to us
Join us for a 30 min session where you can share your feedback and ask us any queries you have
Schedule a callDisclaimer: All third-party content on this website/platform is and will remain the property of their respective owners and is provided on "as is" basis without any warranties, express or implied. Use of third-party content does not indicate any affiliation, sponsorship with or endorsement by them. Any references to third-party content is to identify the corresponding services and shall be considered fair use under The CopyrightLaw.
