Fills a gap in Korean Wave studies by studying it through the lens of gender. Women We Love is an edited collection exploring femininities in and around the Korean Wave since 2000. While studies on the Korean Wave are abundant, there is a dearth of analysis about the female-identifying stars, characters, and fans who shape and lead this crucial cultural movement. Using "women" as an inclusive term extending to all those who self-define as women, this collection of essays examines the role of women in K-pop and K-drama industries and fandom spaces, encompassing crucial intersectional topics such as queering of gender, dissemination of media, and fan culture. The audience for Women We Love will reflect the contributors to this text; they are K-pop and K-drama fans, queer, international; they are also academics of Asian histories, sociology, gender and sexuality, art history, and visual culture. The chapters are playful, intersectional, and will be adapted well into syllabi for media stud
A behind-the-scenes look into the filming of The Last Emperor through the photographs of Basil Pao. The Last Emperor Revisited is a true behind-the-scenes look at the making of Bernardo Bertolucci's legendary film through the exquisite eye of a photographer who had unlimited access to everyone and everything, everywhere. The photographs feature an international cast of characters who contributed to the creation of the masterpiece, from the director, filmmakers, and actors, to the farmers, workers, and students in and around Beijing who were recruited as extras. In July 1986, Basil Pao joined the cast and crew for the filming of The Last Emperor. His principal role was to play the young emperor Pu Yi's father Prince Chun, but he also served as a third assistant director and special stills photographer. The book contains over 250 photographs, including some of Pao's most iconic images of the film, along with a treasure trove of "never-been-seen" pictures captured during filming in Beijin
ONE OF THE MOST SPOKEN DIALECTS in China, Southeast Asia, and globally, Cantonese was nevertheless deemed a local dialect enjoying little prestige among the intellectuals. Not much was recorded in official documents or gazetteers about the early history of Hong Kong. The Cantonese language and its origin remained much of a mystery until the mid-20th century when scholars started to accord it with increasing attention. Thanks to dedicated efforts of early missionaries, pedagogues, and linguists, we can now trace back the evolution of modern Cantonese since the 19th century— how differences in sounds, words, and grammar distinguish the old from contemporary speech today. In this book, Hung-nin Samuel Cheung, an acclaimed scholar on the study of Cantonese, offers profound insights to various firsthand century-old materials including language manuals, Bible translations, and maps of Hong Kong, with findings that will be useful for ongoing efforts to study the development of
This book offers a glimpse into the wide-ranging 50-year career of the internationally renowned Hong Kong photographer/designer through his work in collages and photomontages. From his early album covers when he was an art director/designer for the music industry in New York, Los Angeles and London in the 1970’s, through his diverse international assignments and personal works, to his most recent exhibition in Hong Kong. The story encompasses the long journey from cut-and-paste collages to the computer-composited photomontages of dreamscapes in this Carnival of Dreams.In his introduction titled ‘The Man from Everywhere’, Pico Iyer writes: “For decades now, Basil Pao has been the global eye through which I’ve taken in almost every country, as clearly as the world within… I never know where to place Basil; I can’t get my head around him. Album-designer, loving father, covert Chan master—21st century Renaissance man—Basil is always bringing the many worlds inside him together to create so