Semiotics of Exile and Genre Upsetting: Xie Jin’s Subversion of Melodrama in Hibiscus Town
Throughout the films examined in this book, the upsetting of genre has been symptomatic of exile, no matter whether it is cultural, colonial, postmodern, or postsocialist exile. Wong Kar-wai’s and Stanley Kwan’s prolific use of postmodern narrative and photographic techniques, which subvert the traditional genres of the martial-arts movie or melodrama, indicates postcolonial exile in Hong Kong consciousness. Jiang Wen’s use of postmodern simulacra in revolutionary discourse indicates a postsocialist exile. While the upsetting of genre might not always indicate exile, in many cases it is symptomatic of exile, since upsetting traditional genres that are imbued with traditional ideologies is often indicative of uprootedness from traditional values themselves. Thus, we might regard the upsetting of genre as an important facet of the semiotics of exile.
KeywordsCultural Revolution Innocent Victim Official Discourse Folk Song Early Film
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