Uses a postcolonial critique of the universality of historical time to propose a new way of considering the fantastic in cinema, a prevalent trope in much Asian and Southeast Asian film.
Uses a postcolonial critique of the universality of historical time to propose a new way of considering the fantastic in cinema, a prevalent trope in much Asian and Southeast Asian film.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
List of Illustrations ix Acknowledgments xi Introduction. Clocks for Seeing: Cinema, the Fantastic, and the Critique of Homogeneous Time 1 1. Two Modes of Temporal Critique: Bergonism and Postcolonial Thought 43 2. The Fantastic as Temporal Translation: Aswang and Occult National Times 96 3. Spectral Time, Heterogeneous Space: The Ghost Film as Historical Allegory 149 4. The Ghostliness of Genre: Global Hollywood Remakes the "Asian Horror Film" 190 Epilogue. Writing within Time's Compass: From Epistemologies to Ontologies 245 Notes 253 Bibliography 305 Index 323
List of Illustrations ix Acknowledgments xi Introduction. Clocks for Seeing: Cinema, the Fantastic, and the Critique of Homogeneous Time 1 1. Two Modes of Temporal Critique: Bergonism and Postcolonial Thought 43 2. The Fantastic as Temporal Translation: Aswang and Occult National Times 96 3. Spectral Time, Heterogeneous Space: The Ghost Film as Historical Allegory 149 4. The Ghostliness of Genre: Global Hollywood Remakes the "Asian Horror Film" 190 Epilogue. Writing within Time's Compass: From Epistemologies to Ontologies 245 Notes 253 Bibliography 305 Index 323
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