Laikwan Pang
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The Art of Cloning: Creative Production During China's Cultural Revolution
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published
2017
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5 editions
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The Distorting Mirror: Visual Modernity in China
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published
2007
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4 editions
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Building a New China in Cinema: The Chinese Left-Wing Cinema Movement, 1932-1937: The Chinese LeftWing Cinema Movement, 1932-1937
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published
2002
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8 editions
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Creativity and Its Discontents: China's Creative Industries and Intellectual Property Rights Offenses
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published
2011
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4 editions
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Masculinities And Hong Kong Cinema
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published
2005
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4 editions
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One and All: The Logic of Chinese Sovereignty
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published
2024
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3 editions
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The Appearing Demos: Hong Kong During and After the Umbrella Movement
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published
2020
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5 editions
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Cultural Control and Globalization in Asia: Copyright, Piracy and Cinema
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published
2005
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12 editions
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Three Asias – Japan, S. Korea, China
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published
2010
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CUHK Series:Sunset Not Yet: Post-1997 Hong Kong Cinema
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published
2012
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3 editions
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“(Judith Butler)提出,阿爾都塞意識形態理論的最大貢獻是指出主體的獨立性和附庸性是同時建立的,又或者,主體的概念是建基於它對外在權力的服從上,在這樣一個迴轉中,現存的權力關係可以被維持的,而主流的意識形態亦可以通過其對人的控制而繼續享受其主導的位置。然而,在這樣一個自我再生的系統中,巴特勒提出,「改變」是否就變得無從思考(Butler, 1997: 1–18)?這是一個非常重要的道德和政治問題─難道理論家只能描述主流意識形態的循環不死,而不能帶領大家想像改變現狀的可能?”
― CUHK Series:Sunset Not Yet: Post-1997 Hong Kong Cinema
― CUHK Series:Sunset Not Yet: Post-1997 Hong Kong Cinema
“巴特勒和布希亞在不同的討論中提醒我們,自我和他者不是一個簡單的對立關係,「我」和「他」不是被困在一個互相爭奪控制權的機制裏:服從可能還包括對他者的尊重,以及改變現狀的可能。依賴和服從外國人對香港文化的期待可能有自我東方化之嫌,但結果不一定是對這種意識形態的絕對重複。”
― CUHK Series:Sunset Not Yet: Post-1997 Hong Kong Cinema
― CUHK Series:Sunset Not Yet: Post-1997 Hong Kong Cinema
“陳果所嚮往的獨立主體性是頗為極端的,他們的自由是建基在對他人甚至對自己的拒絕中。有趣的是,到今天為止,陳果的電影基本上是沒有愛情的─《香港製造》裏中秋和阿萍的關係更像是天真的友誼,而最真摯的感情,例如在《細路祥》中祥仔對菲傭的依戀,最後還是要以分離收場。”
― CUHK Series:Sunset Not Yet: Post-1997 Hong Kong Cinema
― CUHK Series:Sunset Not Yet: Post-1997 Hong Kong Cinema
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