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Urban horror : neoliberal post-socialism and the limits of visibility

Author: Erin Y Huang
Publisher: Durham : Duke University Press, 2020. ©2020
Series: Sinotheory.
Edition/Format:   eBook : Secondary (senior high) school : EnglishView all editions and formats
Summary:
"Urban Horror offers a theory of neoliberal post-socialism through an examination of Chinese cinema. According to Erin Huang, neoliberal post-socialism is the economic order that succeeded the end of the Cold War, and describes the attempted articulation of geopolitical and economic relations between formerly socialist and non-socialist countries in what Huang terms the era of the 'post' or 'post-X.' Rather than  Read more...
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Genre/Form: Electronic books
Criticism, interpretation, etc
Additional Physical Format: Print version:
Huang, Erin Y. (Erin Yu-Tien), 1981-
Urban horror
Durham : Duke University Press, 2020.
(DLC) 2019024134
Material Type: Secondary (senior high) school, Internet resource
Document Type: Internet Resource, Computer File
All Authors / Contributors: Erin Y Huang
ISBN: 1478009101 9781478009108
OCLC Number: 1120783609
Notes: Extensive and substantial revision of author's thesis (doctoral)--University of California, Irvine, 2012, titled Capital's abjects : Chinese cinemas, urban horror, and the limits of visibility.
Description: 1 online resource (xii, 271 pages).
Contents: Introduction. Urban horror : speculative futures of Chinese cinemas --
Cartographies of socialism and post-socialism : the factory gate and the threshold of the visible world --
Intimate dystopias : post-socialist femininity and the Marxist-feminist interior --
The post- as media time : documentary experiments and the rhetoric of ruin gazing --
Post-socialism in Hong Kong : zone urbanism and Marxist phenomenology --
The ethics of representing precarity : film in the era of global complicity.
Series Title: Sinotheory.
Responsibility: Erin Y. Huang.

Abstract:

Drawing on Marxist phenomenology, geography, and aesthetics and film from China, Hong Kong, and Taiwan made between the 1990s and the present, Erin Y. Huang theorizes the economic, cultural, and  Read more...

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"In this visionary book Erin Y. Huang lays out a new epistemology of the political, cultural, and affective present while gesturing toward desirable futures. This book will galvanize the study of Read more...

 
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Urban horror : speculative futures of Chinese cinemas -- Cartographies of socialism and post-socialism : the factory gate and the threshold of the visible world -- Intimate dystopias : post-socialist femininity and the Marxist-feminist interior -- The post- as media time : documentary experiments and the rhetoric of ruin gazing -- Post-socialism in Hong Kong : zone urbanism and Marxist phenomenology -- The ethics of representing precarity : film in the era of global complicity.<\/span>\"@en<\/a> ;\u00A0\u00A0\u00A0\nschema:description<\/a> \"\"Urban Horror offers a theory of neoliberal post-socialism through an examination of Chinese cinema. According to Erin Huang, neoliberal post-socialism is the economic order that succeeded the end of the Cold War, and describes the attempted articulation of geopolitical and economic relations between formerly socialist and non-socialist countries in what Huang terms the era of the \'post\' or \'post-X.\' Rather than describing the definitive end of an era, \'post-X\' proffers a regressive temporal logic that sutures the present to the past and continuously differs the future. Huang sees the proliferation of terms to describe Chinese economics after the 1978 economic reform policies as the symptoms of a geopolitical order that doesn\'t yet have a properly articulated name. For Huang, this unarticulated political order is nevertheless felt affectively through what she calls \'urban horror,\' and it is best accessed through the cinema of the time period, in which hypermediality-when the meaning of the image no longer depends on an externally existing reality-became popular. Drawing on a definition of horror as a historical mode of perception that occurs when a perceived external reality exceeds one\'s internal frame of comprehension, Huang argues that the excess of feeling that marks horror\'s presence allows for an \'elusive sensory communicative channel\' in which alternative and dissenting political feelings can emerge. Chapter 1 offers a historical study of the factory in cinema, positioning the images of factory ruins in Chinese cinema as an attempt to reinvent a past that never fully existed. Chapter 2 examines urban horror from a post-socialist feminist perspective by examining the films of Shaohong Li. Chapter 3 focuses on urban horror\'s development as a product of time in post-socialist Chinese documentary films. Chapter 4 focuses on post-1997 Hong Kong cinema that circulates public sentiments about Hong Kong as a place of political and economic exception. Chapter 5 examines the films of Ming-liang Tsai-and the subject of precarity in Tsai\'s films-in relation to their display in art museums and performance art spaces. 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