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Melodrama and Asian Cinema
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  • Cited by 11
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    Crossref Citations
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    This (lowercase (translateProductType product.productType)) has been cited by the following publications. This list is generated based on data provided by CrossRef.
    Han, Qijun 2018. Negotiating identity in the diasporic space: transnational Chinese cinema and Chinese Americans. Continuum, Vol. 32, Issue. 2, p. 224.
    Arighi, William 2018. The Time-Space of Transnational Melodrama in Marivi Soliven’s The Mango Bride. MELUS,
    Hettich, Katja 2018. Handbuch Filmgenre. p. 1.
    Wang, W Michelle 2016. Parodic intertextuality in the Taiwanese idol drama. Critical Studies in Television: The International Journal of Television Studies, Vol. 11, Issue. 3, p. 315.
    Han, Qijun 2015. The portrayal of family in early Chinese melodrama films. Critical Arts, Vol. 29, Issue. 3, p. 419.
    Chan, Kenneth 2014. Melodrama in Contemporary Film and Television. p. 135.
    Chung, Simone Shu-Yeng 2012. An Occasion for Collective Engagement: Shifting Political Hegemonies in Early Malay Epic Dramas. Studies in Ethnicity and Nationalism, Vol. 12, Issue. 1, p. 136.
    Arriola, Joyce L. 2010. A Third Way to Film the Story: A Filipino Film Adaptation of a Work of Literary Journalism. South East Asia Research, Vol. 18, Issue. 2, p. 271.
    Chaudhuri, Shohini 2009. Snake charmers and child brides: Deepa Mehta'sWater, ‘exotic’ representation, and the cross‐cultural spectatorship of South Asian migrant cinema. South Asian Popular Culture, Vol. 7, Issue. 1, p. 7.
    Yang, Fang-chih Irene 2008. The Genrification of “Korean Drama” in Taiwan. China Information, Vol. 22, Issue. 2, p. 277.
    Rajadhyaksha, Ashish 2001. Introduction. Inter-Asia Cultural Studies, Vol. 2, Issue. 3, p. 455.
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    Melodrama and Asian Cinema
    • Online ISBN: 9781139172523
    • Book DOI: https://doi.org/10.1017/CBO9781139172523
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Book description

Cinema is a dominant force in the lives of many people living in Asia. A concept central to much of Asian film production is melodrama. This path-breaking study examines the importance of melodrama in the film traditions of Japan, India, China, Indonesia, the Philippines and Australia. Exploring the various ways that melodrama operates with theoretical sophistication, the various essays contained in this volume shed light on the different traditions of Asian cinema, as well as on the wider cultural discourse in which they participate.

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