Stanley Kwan's Center Stage : The (Im)possible Engagement between Feminism and Postmodernism

Shuqin Cui

12 citations0/0 files storedCinema Journal

No readable copy stored yet — this record is metadata only.

No open-access location is known for this record yet.

Literature note Cite in a project Citation map

Cinema History and Criticism Gender and Feminist Studies Gender, Feminism, and Media

Abstract

Analysis of the star image of Ruan Lingyu, constructed in the early Chinese films of the 1930s and rearticulated in Stanley Kwan's Center Stage (1992), demonstrates the contradictions between feminism and postmodernism. In addition, when placed in the context of Hong Kong's return to China, the fragmented female image reveals a concern for the uncertain relations between history and representation.

Paper brief

Loading…

Cite this work

Citation unavailable for this work.

BibTeX RIS CSL-JSON

No public copy is stored for this record, so only the metadata is cited.

Citations in this library

Citation map →

Stored only when both papers are in the corpus — 12 citations exist upstream.

References

2003A Poetics of Postmodernism 1985Metafiction: The Theory and Practice of Self-Conscious Fiction 1990The politics of postmodernism 1987After the Great Divide: Modernism, Mass Culture, Postmodernism 1993Window shopping: cinema and the postmodern 1980The Voice in the Cinema: The Articulation of Body and Space 1985Film sound: Theory and practice 2005New Vocabularies in Film Semiotics

Cited by

2015Sensing ‘performance anxiety’: Zhang Ziyi, Tang Wei, and female film stardom in the People’s Republic of China 2008In the Mood for Love : Intersections of Hong Kong Modernity

Explore the map →

Papers that cite the same references — the relational fallback while embeddings are still backfilling.

Imported from OpenAlex (CC0) — nothing here is generated.