"Provides a diachronic view of Asian German film history from early Orientalism to increasing collaboration as well as exploration of difference and alternate forms of national and cultural belonging. From re-creating seedy opium dens and Hindu temples on set to capturing dazzling, on-location sights of Tokyo's neon-lit streets and Berlin's bustling Dong Xuan Center, cinema has provided German-speaking audiences a window into the "exotic" cultures of Asia since the early 1900s. Over time, unilateral German imaginings of Asian cultures and people increasingly gave way to collaboration with Asian countries, on-location shooting, and more variegated portrayals of the diasporic experiences of Asians in Europe, though Orientalist tropes have not been fully mitigated. The present volume embraces several understudied regions of Asia, and on the other side of the equation it considers Austria and Switzerland in addition to Germany. It incorporates archival research, close scene analyses, and genre overviews thatelucidate the production and reception histories of individual films, drawing on the knowledge of film historians, cultural studies scholars, and Germanists based in North America, Europe, and Asia. The volume approaches film history by observing three distinct phenomena: early German cinematic imaginings of Asia, co-productions shot on location, and representations of the Asian German diaspora. The book aims to chart unwritten chapters of film history by pitching new readings of old masterpieces, exploring lesser-known works of prolific directors, and uncovering the roles of Asian collaborators from the early twentieth century to the new millennium. Edited by Qinna Shen, Zach Ramon Fitzpatrick, and Qingyang Freya Zhou. Contributors: Mita Banerjee, Janelle Blankenship, Anjeana K. Hans, Iris Haukamp, Tobias Nagl, Isabella Schwaderer, Oliver C. Speck, Philipp Stiasny, Evan Torner, and Sabine von Dirke"--
Provides a diachronic view of Asian German film history from early Orientalism to increasing collaboration as well as exploration of difference and alternate forms of national and cultural belonging.
From re-creating seedy opium dens and Hindu temples on set to capturing dazzling sights of Tokyo's neon-lit streets and Berlin's bustling Dong Xuan Center on location, cinema has provided German-speaking audiences a window into the "exotic" cultures of Asia since the early 1900s. Over time, unilateral German imaginings of Asian cultures and people increasingly gave way to collaboration with Asian countries and more variegated portrayals of the diasporic experiences of Asians in Europe, though Orientalist tropes have not been fully mitigated.
The present volume embraces several understudied regions of Asia as well as Austria and Switzerland. It incorporates archival research, close scene analyses, and genre overviews that elucidate the production and reception histories of individual films, drawing on the knowledge of film historians, cultural studies scholars, and Germanists based in North America, Europe, and Asia. The volume approaches film history by observing three distinct phenomena: early German cinematic imaginings of Asia, co-productions shot on location, and representations of the Asian German diaspora. The book aims to chart unwritten chapters of film history by pitching new readings of old masterpieces, exploring lesser-known works of prolific directors, and uncovering the roles of Asian collaborators from the early twentieth century to the new millennium.
