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Jumpcut academy reviews12/9/2023 ![]() “ Cooling Faye Wong: A Cosmopolitical Perspective.” Blackwell Companion to Hong Kong Cinema, edited by Esther Cheung, Gina Marchetti, and Esther Yau. “ Historical Avenues to Border Thinking: A Review of Tony Williams’ Postcolonialism, Diaspora, and Alternative Histories: The Cinema of Evans Chan.” Jump Cut: A Review of Contemporary Media no. “ Ang Lee.” Oxford Bibliographies in Cinema and Media Studies, 2016. “The Earnest Faith of a Storyteller.” Oxford Academic Blog, Oxford University Press, September 27, 2016. " David Henry Hwang’s Kung Fu in Cross-Cultural Perspectives." Chinese Martial Arts and Media Culture Global Perspectives, edited by Tim Trausch, Rowman & Littlefield, 2018, 147-159. ![]() “ Lin Hwai-min’s Water Stains on the Wall: A Cosmopolitical Perspective.” Critical Stages/Scènes critiques, issue 23, 2021. “Yellow Peril: A Cosmopolitical Revision of The Chinaman.” Adaptation, vol. “Teaching Beyond Orientalism.” The Journal of Dance Education, April 1, 2022, 1-6. Szeto's interdisciplinary approach calls for nothing less than a paradigm shift in the study of Chinese diasporic filmmakers and the embodiment of cosmopolitical perspectives in the martial arts genre. The Martial Arts Cinema of the Chinese Diaspora investigates the transnational nature of films, the geopolitics of culture and race, and the depths of masculinity and power in movies. She concludes by analyzing their films as metaphors for their working conditions in the Chinese diaspora and Hollywood, demonstrating how Lee, Woo, and Chan communicate not only with the rest of the world, but also with each other. She outlines the similarities and differences between the three artists' films, especially their treatments of gender, sexuality, and power. Szeto uses case studies to explore in depth how the forces of colonialism, Chinese nationalism, and Western imperialism have shaped the identities and work of Lee, Woo, and Chan. The book begins with a historical retrospective on Chinese martial arts films as a diasporic film genre and the transnational styles and ideologies of the filmmakers themselves. Szeto demonstrates how this unique perspective allows these three filmmakers to develop and act in the transnational environment of media production, distribution, and consumption. She posits the idea that these filmmakers' success is evidence of a cosmopolitical awareness arising from their cross-cultural ideological engagements and geopolitical displacements. Kin-Yan Szeto critically examines three of the most internationally famous martial arts film artists to arise out of the Chinese diaspora and travel far from their homelands to find commercial success in the world at large: Ang Lee, John Woo, and Jackie Chan. ![]() In The Martial Arts Cinema of the Chinese Diaspora, Dr. The Martial Arts Cinema of the Chinese Diaspora Williams School of Graduate Studies and a two-time recipient of the College of Fine and Applied Arts Award for Outstanding Scholarship and Creative Endeavor. At Appalachian State, she is an awardee of the 100 Scholars Award given by the Cratis D. Szeto has received numerous internal and external awards and grants. In addition to her scholarly work, she has directed more than fifteen plays. Szeto has also shared her expertise with news outlets. Her book The Martial Arts Cinema of the Chinese Diaspora, according to the WorldCat database, is owned by over 1,000 libraries. She has written for edited volumes on film and media studies. Her writings have appeared in scholarly sources including Oxford Bibliographies in Cinema and Media Studies, Visual Anthropology, Adaptation, Critical Stages/Scènes critiques, Dance Chronicle, Journal of Dance Education, Modern Chinese Literature and Culture, Jump Cut: A Review of Contemporary Media, and elsewhere. Kin-Yan Szeto is Professor in the Department of Theatre and Dance at Appalachian State University.
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