Red Cliff Part One
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The Little Red Cliff
The Little Red Cliff portrays life in the 1950s and 1960s in Tanah Merah Kechil (Little Red Cliff) in a corner of Bedok District along the eastern coast of Singapore. Author Yeo Hong Eng chronicles the story of his family, the Yeo family, as they struggled to make a living during the lean years after the Japanese Occupation. He describes in detail how his parents developed the land for farming and exploited other available resources, such as sand mining during rainy seasons, until they were forced to leave the land in 1963. He also explains how they processed coconuts into cooking oil and bamboo into food, materials for building trellises, farming accessories, and basic toys. Whether they were working in animal husbandry or in vegetable cultivation, his grandmother and parents used the age-old methods passed down from their parents and grandparents to work with the land and their animals. What's more, they made sure to take time from their work to celebrate important festivals, entertainment, and the joys and sorrows of everyday life. They attended wayangs (street plays), flew kites, and made their own playthings-shuttles, spinners, sling shots, and musical instruments-with whatever raw materials they had on hand. In The Little Red Cliff, Yeo Hong Eng shares a description of family life in Singapore in the mid-twentieth century-its lows and highs, its struggles and joys.
Chinese Identities on Screen
Since 1978, the changes brought on by China's reforms have had an inevitable and significant impact on the development of literature, the arts, and the whole spectrum of culture. As well, contemporary Chinese films have reflected this transition towards commercialization and internationalization, which has included constant changes in cultural policies and the economic conditions for film production. The articles in this collection argue that contemporary Chinese films display a profound shift in identity construction. They explore Chinese identities related to class, nation, and gender, and they highlight aspects of individual identity. All of these are marked by contradiction, tension, multiple versions, changes over time, and other evidence of contingency and construction. The book draws attention to uncertain and unpredictable qualities of "Chineseness" which are often torn between past and present, but are also increasingly comprised of local, national, and global elements. (Series: Chinese History and Society / Berliner China-Hefte - Vol. 40)
New Hong Kong Cinema
The trajectory of Hong Kong films had been drastically affected long before the city’s official sovereignty transfer from the British to the Chinese in 1997. The change in course has become more visible in recent years as China has aggressively developed its national film industry and assumed the role of powerhouse in East Asia’s cinematic landscape. The author introduces the “Cinema of Transitions” to study the New Hong Kong Cinema and on- and off-screen life against this background. Using examples from the 1980s to the present, this book offers a fresh perspective on how Hong Kong-related Chinese-language films, filmmakers, audiences, and the workings of film business in East Asia have become major platforms on which “transitions” are negotiated.