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Japanese Cinema Goes GlobalFilmworkers' Journeys$
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Yoshiharu Tezuka

Print publication date: 2011

Print ISBN-13: 9789888083329

Published to Hong Kong Scholarship Online: May 2012

DOI: 10.5790/hongkong/9789888083329.001.0001

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Pan-Asian Cinema?

Pan-Asian Cinema?

The Last of Japan-Centred Regional Cosmopolitanism

Chapter:
(p.145) Chapter Five Pan-Asian Cinema?
Source:
Japanese Cinema Goes Global
Author(s):

Yoshiharu Tezuka

Publisher:
Hong Kong University Press
DOI:10.5790/hongkong/9789888083329.003.0006

This chapter focuses on the changing dynamics of Asian regionalization and filmmakers' collaborations, including Japan's increased relationships with Hong Kong's film industry during the 1990s, and media investments in other Asian cultural productions. After two dormant decades, the balance of power tipped and Hong Kong filmmakers no longer looked to Japan as a model of technical, economic, and creative advancement. Japan became more of a trove of ideas and semiotic resources, as well as a source for additional financing and audience/market potential for Hong Kong films. Japan's relative decline and China's rapid economic ascent also changed the dynamics of cultural flows in Asia. The last part of the chapter discusses Japanese film students' experiences in China, and Chinese students' experiences in Japan, creating hybrid regionalisms.

Keywords:   Japan-Hong Kong, Japan-China, hybrid, regionalism, film students

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