The imagination of eco-disaster : post-disaster rebuilding in Asian cinema
Commercial films today often reduce representations of natural catastrophes to commodified spectacles that de-contextualize the subject matter. To contemporary film viewers, the ‘psychic numbing’ effect is apparent, and it does not apply merely to our perception of numbers, statistics, the big da...
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sg-ntu-dr.10356-1456712023-03-11T20:07:03Z The imagination of eco-disaster : post-disaster rebuilding in Asian cinema Chu, Kiu-Wai School of Humanities Humanities::Language Natural Disaster Ecocinema Commercial films today often reduce representations of natural catastrophes to commodified spectacles that de-contextualize the subject matter. To contemporary film viewers, the ‘psychic numbing’ effect is apparent, and it does not apply merely to our perception of numbers, statistics, the big data. It can also be seen when we are bombarded with similar kinds of images over and over again; in this case, the large-scale tsunami, the hurricanes, the earthquake and all the exaggerated destruction scenes in recent disaster movies have become clichés no matter how realistic and intense the shots are made. By focusing on a range of eco-disaster films, this article highlights the importance of cultural sensitivity in the study of eco-disaster films, by exploring several questions: how are eco-disasters culturally shaped and defined, via cinematic means? How are human responses to disasters, as reflected in cinematic representations, shaped by specific sociopolitical, cultural or economic conditions? How does cinema as a media form represent ecological concepts that are shared globally or universally, while at the same time reflecting specific cultural characteristics? Juxtaposing examples from China, Thailand and the Phillippines, particularly with three films: Wonderful Town (Thailand, 2007), Aftershock (China, 2010) and Taklub (Phillippines, 2015), this article demonstrates how Asian eco-disaster films in the Anthropocene epoch reflect specific cultural imaginations of nation and identity rebuilding, which in turn provide a ground to reposition, redefine and reinvent the changing cultural identities in contemporary Asia. Eventually, it argues that eco-disaster narratives in Asia reflect the identity crisis of Asian nations in a global capitalist world, just as much as they are about ecological crises. Accepted version 2021-01-04T06:29:16Z 2021-01-04T06:29:16Z 2019 Journal Article Chu, K.-W. (2020). The imagination of eco-disaster : post-disaster rebuilding in Asian cinema. Asian Cinema, 30(2), 255-272. doi:10.1386/ac_00007_1 1059-440X https://hdl.handle.net/10356/145671 10.1386/ac_00007_1 2 30 255 272 en Asian Cinema © 2019 Intellect Ltd Article. English language. All rights reserved. This paper was published in Asian Cinema and is made available with permission of Intellect Ltd Article. English language. application/pdf |
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Humanities::Language Natural Disaster Ecocinema Chu, Kiu-Wai The imagination of eco-disaster : post-disaster rebuilding in Asian cinema |
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Commercial films today often reduce representations of natural catastrophes to
commodified spectacles that de-contextualize the subject matter. To contemporary
film viewers, the ‘psychic numbing’ effect is apparent, and it does not apply merely
to our perception of numbers, statistics, the big data. It can also be seen when we
are bombarded with similar kinds of images over and over again; in this case, the
large-scale tsunami, the hurricanes, the earthquake and all the exaggerated destruction scenes in recent disaster movies have become clichés no matter how realistic and
intense the shots are made. By focusing on a range of eco-disaster films, this article
highlights the importance of cultural sensitivity in the study of eco-disaster films, by
exploring several questions: how are eco-disasters culturally shaped and defined, via
cinematic means? How are human responses to disasters, as reflected in cinematic
representations, shaped by specific sociopolitical, cultural or economic conditions?
How does cinema as a media form represent ecological concepts that are shared globally or universally, while at the same time reflecting specific cultural characteristics? Juxtaposing examples from China, Thailand and the Phillippines, particularly
with three films: Wonderful Town (Thailand, 2007), Aftershock (China, 2010) and
Taklub (Phillippines, 2015), this article demonstrates how Asian eco-disaster films
in the Anthropocene epoch reflect specific cultural imaginations of nation and identity rebuilding, which in turn provide a ground to reposition, redefine and reinvent the changing cultural identities in contemporary Asia. Eventually, it argues that
eco-disaster narratives in Asia reflect the identity crisis of Asian nations in a global
capitalist world, just as much as they are about ecological crises. |
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School of Humanities |
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School of Humanities Chu, Kiu-Wai |
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Chu, Kiu-Wai |
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Chu, Kiu-Wai |
title |
The imagination of eco-disaster : post-disaster rebuilding in Asian cinema |
title_short |
The imagination of eco-disaster : post-disaster rebuilding in Asian cinema |
title_full |
The imagination of eco-disaster : post-disaster rebuilding in Asian cinema |
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The imagination of eco-disaster : post-disaster rebuilding in Asian cinema |
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The imagination of eco-disaster : post-disaster rebuilding in Asian cinema |
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imagination of eco-disaster : post-disaster rebuilding in asian cinema |
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2021 |
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https://hdl.handle.net/10356/145671 |
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