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喜歡看書嗎？也喜歡買書嗎？但是常常把書看完一遍就沒時間再看第二遍了。這種情況一定很常發生在你我身上，突然到了某一天，看到了
滿出來的書櫃，才覺得有那麼多的書籍都躺在那邊無人問津，真的是好可惜喔。想當初我可是花了一筆一筆的MOENY把它們買回家，重點是，還有
很多都是才剛出來的新書，也不便宜呢！想想感覺好像又有點浪費。 所以近幾年來，我買書的習慣變了，我喜歡上一個賣二手書的網路書店-TAZZE。
除了二手書的價格便宜了不少，重點是他還提供給我們賣二手書的平台，讓我的書櫃裡的書可以找到去處，也可以再回收一些錢回來。感覺也不錯。
最近我在找一本書， Remaking Chinese Cinema：Through the Prism of Shanghai, Hong Kong, and Hollywood ，習慣性在TAZZE找找看 Remaking Chinese Cinema：Through the Prism of Shanghai, Hong Kong, and Hollywood 有沒有賣，還真的給我找到了 Remaking Chinese Cinema：Through the Prism of Shanghai, Hong Kong, and Hollywood 。看起來滿新的，價格
也真的粉便宜。對 Remaking Chinese Cinema：Through the Prism of Shanghai, Hong Kong, and Hollywood 有興趣的朋友，也提供 Remaking Chinese Cinema：Through the Prism of Shanghai, Hong Kong, and Hollywood 的網頁給大家參考一下。
Remaking Chinese Cinema：Through the Prism of Shanghai, Hong Kong, and Hollywood
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作者：
Yiman Wang
出版社：
香港大學出版社
出版日期：2013-11-01
ISBN/ISSN：9789888139163
語言：繁體中文
裝訂方式：平裝
頁數：217頁
商品訊息簡述:
From melodrama to Cantonese opera, from silents to 3D animated film, Remaking Chinese Cinema traces cross-Pacific film remaking over the last eight decades. Through the refractive prism of Hollywood, Shanghai, and Hong Kong, Yiman Wang revolutionizes our understanding of Chinese cinema as national cinema. Against the diffusion model of national cinema spreading from a central point—Shanghai in the Chinese case—she argues for a multilocal process of co-constitution and reconstitution. In this spirit, Wang analyzes how southern Chinese cinema (huanan dianying) morphed into Hong Kong cinema through transregional and trans-national interactions that also produced a vision of Chinese cinema.
Among the book's highlights are a rereading of The Goddess—one of the best-known silent Chinese films in the West—from the perspective of its wartime Mandarin-Cantonese remake; the excavation of a hybrid genre (the Western costume Cantonese opera film) inspired by Hollywood’s fantasy films of the 1930s and produced in Hong Kong well into the mid-twentieth century; and a rumination on Hollywood’s remake of Hong Kong's Infernal Affairs and the wholesale incorporation of 'Chinese elements' in Kung Fu Panda 2.
Positing a structural analogy between the utopic vision, the national cinema, and the location-specific collective subject position, the author traces their shared urge to infinitesimally approach, but never fully and finitely reach, a projected goal. This energy precipitates the ongoing processes of cross-Pacific film remaking, which constitute a crucial site for imagining and enacting (without absolving) issues of national and regional border politics. These issues unfold in relation to global formations such as colonialism, Cold War ideology, and postcolonial, postsocialist globalization. As such, Remaking Chinese Cinema contributes to the ongoing debate on (trans-)national cinema from the unique perspective of century-long border-crossing film remaking.
作者簡介：
Yiman Wang is associate professor of film and digital media at the University of California, Santa Cruz.
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