Almost A Love Story
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Almost a Love Story
Erin is a homemaker who hasn’t read a book in a long time. But that changes when Wendell—now a published author—returns after twelve years. Once, they shared a creative partnership: he wrote, she took notes, their closeness defined by the things they never said. But when Erin begins to read his novel—about a professor and his amanuensis—she sees shadows of herself on the page. The more she reads, the more the boundaries between fact and fiction blur. Conversations restart, old wounds reopen and the past reshapes the present in quiet, irreversible ways. After twelve years abroad, acclaimed novelist Wendell An Ling returns home and reconnects with Erin, once his devoted amanuensis, now married, who has abandoned reading. Their reunion stirs memories of a creative partnership fraught with unspoken tensions, mirrored in Wendell’s latest novel about a professor and his note-taker. As Wendell and Erin navigate their tangled history, the lines between past and fiction blur, revealing a layered exploration of love, power and the fragile boundaries between life and literature.
The Cinema of Hong Kong
Author: Poshek Fu
language: en
Publisher: Cambridge University Press
Release Date: 2002-03-25
This volume examines Hong Kong cinema in transnational, historical, and artistic contexts.
Sentimental Fabulations, Contemporary Chinese Films
Author: Rey Chow
language: en
Publisher: Columbia University Press
Release Date: 2007-03-27
What is the sentimental? How can we understand it by way of the visual and narrative modes of signification specific to cinema and through the manners of social interaction and collective imagining specific to a particular culture in transition? What can the sentimental tell us about the precarious foundations of human coexistence in this age of globalization? Rey Chow explores these questions through nine contemporary Chinese directors (Chen Kaige, Wong Kar-wai, Zhang Yimou, Ann Hui, Peter Chan, Wayne Wang, Ang Lee, Li Yang, and Tsai Ming-liang) whose accomplishments have become historic events in world cinema. Approaching their works from multiple perspectives, including the question of origins, nostalgia, the everyday, feminine "psychic interiority," commodification, biopolitics, migration, education, homosexuality, kinship, and incest, and concluding with an account of the Chinese films' epistemic affinity with the Hollywood blockbuster Brokeback Mountain, Chow proposes that the sentimental is a discursive constellation traversing affect, time, identity, and social mores, a constellation whose contours tends to morph under different historical circumstances and in different genres and media. In contemporary Chinese films, she argues, the sentimental consistently takes the form not of revolution but of compromise, not of radical departure but of moderation, endurance, and accommodation. By naming these films sentimental fabulations screen artifacts of cultural becoming with irreducible aesthetic, conceptual, and speculative logics of their own Chow presents Chinese cinema first and foremost as an invitation to the pleasures and challenges of critical thinking.