Titlebook: Craziness and Carnival in Neo-Noir Chinese Cinema; Harry H. Kuoshu Book 2021 The Editor(s) (if applicable) and The Author(s), under exclus

隨意

jeopardize

Book 2021iscourses triggered by the extraordinary success of the 2006 low-budget film, .Crazy Stone.. Surveying the nuanced implications of the film noir genre, Harry Kuoshu argues that global .neo noir. maintains a mediascape of references, borrowings, and re-workings and explores various social and cultura

微枝末節(jié)

Anonymous

Introduction: , Phenomenon and Chinese Neo-noir Comedies,atic scenes. It explores the implications of a black carnival to the contemporary Chinese; the resources of being crazy in Chinese culture; the meanings of modernism and postmodernism to the Chinese; the making of darkness in relation to black humor and film noir; the role of laughter, nihilism, and

現(xiàn)代

不出名

receptors

Films: Because of ,ious of the selling points in the market, and are collectively building the brand recognition of a round of neo-noir comedies. Among these films, the encounter of . and . helps illustrate a cultural carnival of national scale. The shared elements of this encounter, generally described as a postmoder

LIMIT

Dual Retrieval of Cinematic Craziness: A Coda,., to both indicate the twelve-plus-year duration of this episode of cinematic craziness and use the discussion of the two films to summarize some common artistic features of the films produced in this episode. The first retrieval allows one to understand the character type created by Huang in the e

鬧劇

2945-7254 ns of carnival, postmodernism, and post-socialism, Kuoshu advocates for .neo noir. as a cultural phenomenon that connects filmmakers, film critics, and film audiences rather than an industrial genre..978-3-030-73081-9Series ISSN 2945-7254 Series E-ISSN 2945-7262

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