Thestudy relates these discourses to the larger framework of East Asian media space as advocated by Iwabuchi and Chua, as well as case studies of four co-production markets. The work sets to provide a coherent overview of four major discourses of co- productions,thecultural-regulatory, legal,financial,andculturalstudiesdiscourseadvocated recently by DeBoer (2014) which sees regional co-productions as technology of assemblage in complexdialogueswiththecultural,financial,andpoliticalflowsinEastAsia. Thus, the goal of this thesis is to theoretically discuss and critically analyze international co-productions and co-production markets of feature-length films in East Asia: Japan (TIFFCOM Co-Pro Connection of Tokyo Film Festival), Hong Kong (HAFF of Hong Kong Film Festival), and South Korea (APM of Busan Film Festival, and NAFF of Puchon Fantastic Film Festival). Although Asian cinema has attracted widespread attention in academic and critical studies of auteurs and genres, the research on the production and dissemination, especially festivals and co-productions of feature films has suffered from a relative lack of attention.
0 Comments
Leave a Reply. |