A pioneering and comprehensive study of recent Malaysian cinema. Malaysian Cinema in the New Millennium offers a new approach to the study of multiculturalism in cinema by analyzing how a new wave of filmmakers champion cultural diversity using cosmopolitan themes. Adrian Lee offers a new inquiry of Malaysian cinema that examines how the "Malaysian Digital Indies" have in recent years repositioned Malaysian cinema within the global arena. The book shines a new light on how politics and socioeconomics have influenced new forms and genres of the post-2000s generation of filmmakers and provides a clear picture of the interactions between commercial cinema and politics and socioeconomics in the first two decades of the new millennium. It also illustrates how the Malaysian Digital Indies functions as a site for questioning and proposing a new national identity in the era of advanced global capitalism and new Islamisation.
情感、性、非人在不同類別、不同結構、不同型態下成為「眾罔兩」共同體想像,並與中間物一起作為方法「罔兩」,原本的意涵(影外微陰)即諭示雙重邊緣位置(邊緣的邊緣),是被層層稀釋的(類)主體。其指涉之難,即造就了互為參照之不可能。本書各篇文章延展了十五年前《罔兩問景:酷兒閱讀攻略》的諸多歷史、思考的限制,重訪懸宕的命題,指認面目依舊模糊的各種存在;因為「罔兩」的影外微陰之義,已不在狹義的性少數,而是擴及到更多無以名狀之物——與人為主體的妖、妾同行的,還有物質的罔兩(道路、核廢料、斷指、科幻文體),情感的罔兩(負面性、控白、古老鬼魂)。本書繼續開展罔兩的發問,在「晷景遷馳,分陰不駐」(語出章太炎〔1869-1936〕)與「凡物之非此非彼者」(語出嚴復〔1854-1921〕)罔兩寓言閱讀所提供的難以捕捉的時空位置,重新反思亞洲現代性與其思想的「中間物」軌跡。以「眾罔兩」作為方法,重要的在於「問」即思考、叩問邊緣的能量形式本書試圖把魯迅來自尼采的「中間物」概念喻說放在殖民-歷史-地理的認識向度中,作為一個啟導性與中介性的概念,集結九位作者各自的九篇論文,共同探索亞洲當下批判性知識生產的可能性。各篇文章展開的問題意識,似乎一環扣著一環,而可以「中間物」作為環中,以輻輳知識生產的問題性。而在學術工作日益個人化的當下,期待透過本書探索一種在集體「中/之間」共同工作的可能。▍本書特色1. 展現時間悖論─遲滯的未來,而非以線性歷史或「邊緣-中心」來理解,進而展現跨時空、跨類別的內涵,以及「中間物」非空間性的過程與過渡性。2. 透過「中間物」的概念喻說,使得各篇假以不同的概念與能指,產生彼此之間相互的連結,進一步相互詰問,產生新的閱讀與情感。3. 在「殖民與冷戰的歷史—地緣關節」下,提供讀者進一步思索中間物的起點,成為亞際知識情感解殖工作之「未-來」的中間橋梁。▍學界推薦(依姓氏筆畫順序)Cindy Patton(裴新)Professor of Sociology and Anthropology, The University of Simon FraserTeri J. Silvio(司黛蕊)中央研究院民族學研究所研究員王 蘋 台灣性別人權協會秘書長王智明 中央研究院歐美所副研究員丘延亮 社運流浪犬何春蕤 
熊式一(1902–1991)是20世紀海外最知名的中國作家之一,陳寅恪曾以「海外林熊」之句將他與林語堂並舉。他在1934年將中國傳統劇目改編為英文戲劇《王寶川》,在倫敦連續演出約900場,由王室到平民,家喻戶曉。1935年,他成為了第一位登上百老匯舞台的中國導演,更被《紐約時報》(The New York Times)譽為「中國莎士比亞」。1943年創作的英文小說《天橋》亦大獲成功,被翻譯成了法、德、西、捷、荷等歐洲主要語言,暢銷歐美。但他的傳奇人生遠遠不止於創作,他還是中英雙語譯者、香港清華書院創校校長、BBC電台評論員、劇作家、藝術收藏家……曾經的風雲人物如今已消失在歷史中,與其一起被遺忘的,是那個中國藝術曾經征服西方的短暫卻輝煌的時代。 本書是熊式一的第一部完整傳記,全面梳理熊傳奇的一生,發掘中國現代文學史中不該被淹沒的人物。作者用十年時間深耕熊式一家人提供的海量一手文獻,包括書信、文章、手跡、照片等,並追查中國和海外有關的新聞報道,採訪了橫跨三大洲的相關人士。 在詳述熊式一風雲人生的同時,也呈現了20世紀三四十年代歐美文藝界仰慕中國的一段短暫卻輝煌的跨國交流史。若沒有熊式一,我們對中國現代文學史,對作為在世界中的中國文學,對中國與世界的互動的理解,便會缺失非常重要的部分。 熊式一的英語代表劇作備受西方著名作家推崇—— 諾貝爾文學獎得主蕭伯納(Bernard Shaw):「我非常喜歡熊譯《西廂記》⋯⋯足可以和我們中古時代戲劇並駕齊驅。」 諾貝爾文學獎得主賽珍珠(Pearl S. Buck):「《王寶川》是一出美輪美奐的戲。熊博士的確是個天才。」 「科幻小說之父」H. G. 威爾斯(H. G. Wells):「《天橋》是一幅完整的、動人心弦的、呼之欲出的圖畫。」 王德威、陳子善、Anne Witchard ——共同推薦 熊式一是現代華語世界戲劇藝術及文化傳播的傳奇人物。他的雙語戲劇創作,多元事業軌跡,以及起伏的生命歷程無不折射二十世紀中國知識分子與世界的重層關聯。本書敘述流暢,考證翔實,是進入熊式一生命,體會其人其志的重要傳述。—王德威,美國哈佛大學東亞語言與文明系講座教授 熊式一才華橫溢、博學多聞,他的劇作《王寶川》曾與狄更斯和蕭伯納的作品媲美。這部紀念碑式的著作不僅僅是
The first exhaustive English-language history and analysis of the Chinese opera genre, Kunqu. In Kunqu: A Classical Opera of Twenty-First-Century China, Joseph S. C. Lam offers a holistic and interdisciplinary view of Kunqu, a 600-year-old genre of Chinese opera that has been fashionably performed inside and outside of China. The first comprehensive and scholarly book on Kunqu written in English, this book explains how and why the genre charms and signifies Chinese culture, history, and personhood. Approaching the genre from several perspectives, ranging from those of performers and producers to those of casual audiences, dedicated connoisseurs, and scholarly critics, Lam also employs a judicious blend of Chinese and international theories and methods. Herein, he establishes the significance of Kunqu not only in the sphere of Chinese music but among the cultural heritage and performing arts at a global level as well.
Where Are the People?How Could the People’s Bodies Voice Themselves in the Form ofTheatrical Aesthetics?At That Time, the Audience Really Stood Up.In this evening, theater practitioners initiated the conversation with physical action. They engage with contemporary issues through their unique performance styles. From a discursive context, they enter the scene of resistance and undertake the labor of performance. Their performance is not just the preface to a series of dialogues, but also a witness to thirty years of People’s Theater.“People’s theater” belongs to the people.It is the theater created by the people and speaks for the people as it has appeared in history in diverse forms.People theater in Inter-Asian Societies began to grow in a cross-region, which included Jakarta, Manila, Bangkok, Kuala Lumpur, Hong Kong, Tokyo, Busan, Maputo, Beijing, Shanghai, Hualien, Taichung, and Taipei. Through the writings and images written down by theatrical artists from these spaces, we can figu