... imagines herself as a prisoner in New Women. This chapter examines the connection between torture and sexuality in Chinese cinema by focusing on Ang Lee’s 2007 film, Lust, Caution (Se Jie). Emilie Yueh-yu Yeh notes two brief appearances made by a German...

..., film and video are able to cross national borders much more easily than the traditional plastic arts. The success of Sinophone directors such as Ang Lee from Taiwan and John Woo from Hong Kong in Hollywood further suggests that the translatability of the medium makes the filmmakers themselves more...

... range of canonical films, focusing on their history, form, and structure: Ren Qingtai’s Dingjun Mountain (1905), Zhang Shichuan’s The Songstress Red Peony (1931), Fei Mu’s Eternal Regret (1948), and Ang Lee’s Crouching Tiger, Hidden Dragon...

...This chapter treats stylistic and philosophical issues raised in and by one of the world’s best-known Chinese films, Crouching Tiger, Hidden Dragon (2000). Ang Lee’s transformation of Wang Dulu’s 1941 story sensitively reinterprets narrative situations and character psychology...

...This chapter compares the aesthetic and ideological connections between two mid-1980s movements: Experimental Modernist Fiction writers and Fifth Generation filmmakers. Just like Ang Lee, Zhang Yimou reconstructs Su Tong’s basic plots and characters and reinterprets, for allegorical purposes...

...Ang Lee is one of cinema's most versatile and daring directors. His ability to cut across cultural, national, and sexual boundaries has given him recognition in all corners of the world, the ability to work with complete artistic freedom whether inside or outside of Hollywood, and two Academy...

...Taiwan Cinema as Soft Power. Song Hwee Lim, Oxford University Press. © Oxford University Press 2022. DOI: 10.1093/oso/9780197503379.003.0005 This chapter aims to illustrate the soft-power appeal of Ang Lee’s cinema by tracing the industrial turns his career has taken at various...

... theatricalized, less reckless one. These juxtaposed pioneer performances are thematized in Ang Lee's film as well, constructing two frontier spaces—one, the idyllic space of queer sensibility at Brokeback Mountain, and the other, the repressive regime of Riverton, Wyoming. Bush's brush clearing and Lee's film...

...This chapter describes the arrival of wuxia pian, or Chinese sword-fighting movies, to Hollywood. It examines Ang Lee's Crouching Tiger, Hidden Dragon (2000) and Zhang Yimou's Hero (2002) and House of Flying Daggers (2004...

...This last chapter discusses the present development of wuxia as the most popular genre in the Chinese-speaking cinemas. The global success of Ang Lee’s Crouching Tiger, Hidden Dragon (2000) has elevated the genre into the consciousness of non-Chinese audiences. Mostly shot in China...

...This chapter provides a historical overview of Ang Lee's career as a Hollywood filmmaker. Lee has been dubbed an auteur—he is an artist with his actors, and seems to draw amazing work out of his cast, from the smallest to the greatest, while continuing to reiterate common themes of family, culture...

...This chapter considers Taiwanese-born Hollywood director Ang Lee's position in Asian and world cinema. It first examines the characteristics of Lee's cinema, from globalization and cultural identity to homosexuality, patriarchy, feminism, and family. It then reviews the history of transnational...

...This concluding chapter assesses Taiwanese-born Hollywood director Ang Lee's place in the history of world cinema. After winning two Best Director Academy Awards for Brokeback Mountain in 2006 and Life of Pi in 2013, Lee has become one of the world's leading...

...This chapter examines the working of magic realism in Indo-Canadian director Deepa Mehta’s adaptation of Salman Rushdie’s Midnight’s Children (2012) and Taiwanese-American director Ang Lee’s adaptation of Yann Martel’s Life of Pi (2012), both transnational...

... is aimed at a fuller picture of cinema’s evolving machinic substrate. Mark B. N. Hansen’s deployment of Peircean semiotics in this regard is put into comparison with Cavell and Gilles Deleuze in a close look at the high-speed, hyper-realist projection of Ang Lee’s Billy Lynn’s Long Halftime Walk (2016...

... Horse (2011), and Ang Lee’s Life of Pi (2012). Significantly, becoming-animal cannot be represented by conventional point-of-view and shot-reverse-shot editing (the structural mainstay of filmic suture), because it ties the animal to the conventional (and thus delimiting) human...

...This book situates Brokeback Mountain, a queer film based on the short story by Annie Proulx and directed by Ang Lee, in relation to specific frameworks and debates: indie cinema; the Western; the melodrama; gay spectatorship and cruising. The chapters can be read in a linear...

... by Warren Beatty's Dick Tracy (1990) and Ang Lee's Hulk (2003). It also explores how a filmmaker can attempt to find a cinematic equivalent for the varied modes of graphical representation practiced by a cartoonist. The chapter first provides an overview of graphical...

...Reviewing what became a common critical response to Ang Lee’s Brokeback Mountain (2005) as "not a gay movie," this chapter contests the prevailing reading of Ennis Del Mar as repressed homosexual, inviting his difference to help open both "gay" and "queer" to new narratives...

...Upon its release in 2005, Brokeback Mountain became a major cultural event and a milestone in independent American filmmaking. Based on the short story by Annie Proulx and directed by Ang Lee, it situated a love story between two closeted cowboys at the heart of American mythology...