研究者詳細 - 馬　然

論文 - 馬　然

分割表示 >> ／全件表示 40 件中 1 - 40 件目

‘Think Like an Archipelago’——Regarding the Japanese-Chinese Independent Film Culture Connections (1989-2020) 招待有り査読有り

Ran Ma

Chinese Independent Cinema Observer ( 1 ) 頁： 8 - 21 2021年5月

Eigasai Inside Out: Programming Japanese Cinema at Overseas and Japanese Film Festivals Today 招待有り査読有り

Edited by Fujiki Hideaki & Philip Alastair

頁： 164 - 178 2020年5月

Reminiscences of a journey to Okinawa: landscape film as essay, and Takamine Gō’s Okinawan Dream Show (1974)

Ran Ma

Journal of Japanese and Korean Cinema 13 巻 ( 1 ) 頁： 4 - 21 2021年1月

記憶と身体を乗り越える──東北ドキュメンタリー三部作とポスト・福島ドキュメンタリー査読有り

『〈ポスト 3.11〉メディア言説再考』頁： 283-302 2019年2月

In/visibility in post-war Okinawan images 1 招待有り査読有り国際共著

Ran Ma & Kosuke Fujiki

Journal of Japanese and Korean Cinema 13 巻 ( 1 ) 頁： 1 - 3 2021年5月

A Landscape Over There: Rethinking Translocality in Zhang Lu’s Border Crossing Films. 査読有り

4 巻 ( 1 ) 頁： 111-132 2018年

A genealogy of film festivals in the Peoples Republic of China: Film weeks during the Seventeen Years (1949-1966) 査読有り

Ran Ma

New Review of Film and Television Studies 14 巻 ( 1 ) 頁： 40 - 58 2016年1月

記述言語：英語掲載種別：研究論文（学術雑誌）出版者・発行元：Routledge

Exhibitions known as Film Weeks (dianyingzhou) were systematically launched nationwide in the Peoples Republic of China by the state to showcase imported films during the Seventeen Years (1949-1966), which was a crucial period for the establishment of the socialist regime. This study identifies film weeks as a specific type of film festival, situates their analysis within the sociopolitical context of the Seventeen Years, and explores them as a dynamic process in which actors such as the Chinese film industry, film professionals, and audiences negotiated with the authority of the party-state, and a centralized cultural system. Central to the Chinese states encompassing cultural exchange programs with nations both within and outside the socialist bloc, the practice of film weeks highlighted Chinas changing stance in cold war power politics. Meanwhile, film weeks promoted the practices of socialist cinéphilia in engaging Chinese audiences with foreign film cultures. Using case studies of the Soviet Film Week in the 1950s and the 1957 Asian Film Week, this article historicizes film weeks connections with an increasingly globalizing film festival network while also examining how the vernacular practices of Chinese festivals can contribute to rethinking film festival studies Eurocentric discursive framework.

DOI： 10.1080/17400309.2015.1107266

Scopus

In/visibility in post-war Okinawan images 2 招待有り査読有り

Kosuke Fujiki & Ran Ma

Journal of Japanese and Korean Cinema 13 巻 ( 2 ) 頁： 97 - 98 2021年11月

Asian Documentary Connections, Scale-making, and the Yamagata International Documentary Film Festival (YIDFF) 査読有り

Ran Ma

Transnational Cinemas 頁： 1-17 2017年9月

記述言語：英語掲載種別：研究論文（学術雑誌）

Intersecting both fields of film festival studies and transnational cinema studies, this article examines how Asian documentary film festivals help to configure and orchestrate regional documentary/film connections. In particular, this work examines Asia's earliest documentary film festival, the biennial Yamagata International Documentary Film Festival (YIDFF), established in 1989 in Japan, and one of its visionary founders, documentarist Ogawa Shinsuke. This project first traces how YIDFF articulated Ogawa's ideal of establishing a creative alliance of young generations Asian filmmakers toward the region's post-Cold War transition. Subsequently, the YIDFF, intertwined with the changing political economy of global and regional film festivals since the 1990s, has taken up Ogawa's legacy and renewed efforts to generate an Inter-Asian film network. This article leverages Anna Tsing's conceptualization of global connections to distinguish the YIDFF's region-making project and rethink the discursive framing of international film festival network. Additionally, it grasps the political significance of the YIDFF's region-making by explaining how, as an idiosyncratic festival model, it has disturbed and reframed the given configuration of global image consumption and circulation, and has been retained and reinvented through intra-festival connections across Asia.

DOI： 10.1080/20403526.2017.1379733

Spectacles, showcases, marketplaces (and even public spheres): Chinese film festivals as cultural industries 招待有り査読有り

Ran Ma,Cindy Hing-Yuk Wong

Handbook of China's Cultural and Creative Industries 頁： 320-359 2016年

Regarding the Grassroots Chinese Independent Film Festivals : Modes of Multiplicity and Abnormal Film Networking 招待有り査読有り

Matthew D. Johnson, Luke Vulpiani, Keith B. Wagner, Kiki Tianqi Yu eds.

China's IGeneration: Cinema and Moving Image Culture for the Twenty-first Century 頁： 235-253 2014年5月

It is all about <i>qingnian dianying</i> : Post-independent Chinese cinema, auteurism, and the FIRST International Film Festival

Shan Tong, Ran Ma

Journal of Chinese Cinemas 頁： 1 - 23 2023年11月

阮纯诗的散文电影与“档案论” in 艺术档案（库）的可能与不可能——亚洲的理论与经验

2023年8月

Kim Soyoung’s “Exile Trilogy”—“Retro” Toward an Affective Archive 招待有り査読有り国際誌

Ran Ma

philoSOPHIA: a Journal of TransContinental Feminism 11 巻頁： 145 - 153 2021年12月

担当区分：最終著者,　責任著者

Looking at Soyoung Kim’s Exile Trilogy (2014–2017), three documentaries centering on ethnic Koreans in Central Asia (formerly USSR) and specifically the use of archival footages and soundtracks in Sound of Nomad, Arirang (2016), this article considers Kim’s works an organic contribution to the image archive of/about/by the global Korean diaspora while seeking to interrogate the politics of “retro” by turning to what Catherine Russell has approached as “archiveology.” Foregrounding the representation of the transgenerational divas from the “Arirang Ensemble” of the Koryo Theater in Almaty, Kazakhstan, this piece highlights how the divas’ personal stories reconstructed via images, oral accounts, sound recordings, and so forth need to be grasped as an assemblage of affective flows that has complicated the teleological narrative about the Korean diaspora and problematized the Soviet state’s ideocultural representations of the Koryo people.

In/visibility in post-war Okinawan images 2

Kosuke Fujiki, Ran Ma

Journal of Japanese and Korean Cinema 頁： 1 - 2 2021年7月

Re-emerging voices and re-imagined landscapes: an interview with Chikako Yamashiro

Ran Ma, Kosuke Fujiki, Christopher M. Cabrera

Journal of Japanese and Korean Cinema 頁： 1 - 16 2021年7月

In/visibility in post-war Okinawan images 1

Ran Ma, Kosuke Fujiki

Journal of Japanese and Korean Cinema 13 巻 ( 1 ) 頁： 1 - 3 2021年1月

記憶と身体を乗り越える──東北ドキュメンタリー三部作とポスト・福島ドキュメンタリー査読有り

Ma Ran

『〈ポスト 3.11〉メディア言説再考』頁： 283-302 2019年2月

故郷的風景：高嶺剛的沖繩夢幻秀国際共著

馬然

ACT: Art Critique of Taiwan/藝術觀點 Issue No. 78 巻頁： 82 - 91 2019年

記憶と身体を乗り越える――東北ドキュメンタリー三部作とポスト・福島ドキュメンタリー査読有り

馬然

<ポスト3.11〉メディア言説再考 0 巻頁： 283 - 302 2019年

Asian Documentary Connections and “The International Film Festival Short Circuit”: Yamagata International Documentary Film Festival (YIDFF) as a Case Study 査読有り国際共著

馬然

The Palgrave Handbook of Asian Cinema 0 巻頁： 171 - 189 2018年

Discussion and Interview: towards the Im/possible "Chinese-in-Japan" Cinema [Lun Tan: Li Ying de lisanyingxiang he bu/keneng de zairihuaren dianying ]

馬然

Stage and Screen Review (Chinese) 06 巻頁： 121 - 133 2018年

A Landscape Over There: Rethinking Translocality in Zhang Lu’s Border Crossing Films. 査読有り

Ran Ma

Verge: Studies in Global Asias 4 巻 ( 1 ) 頁： 111-132 2018年

Contesting the National, Labelling the Renaissance: Exhibiting Taiwan Cinema at Film Festivals in Japan since the 1980s 査読有り

Ran Ma

Taiwan Cinema, International Reception and Social Change 頁： 53-68 2017年7月

Programming China at the Hong Kong International Film Festival and the Shanghai International Film Festival 査読有り

馬然

Chinese Film Festivals: Sites of Translation 頁： 237-258 2017年3月

Eigasai Inside Out: Programming Japanese Cinema at Overseas and Japanese Film Festivals Today

Ran Ma

Stage and Screen Reviews 3 巻頁： 21-31 2017年

a Landscape over there: Korean-Chinese filmmaker Zhang Lu's border-crossing films

Ran Ma

Stage and Screen Reviews 6 巻頁： 80-87 2017年

a Landscape over there: Korean-Chinese filmmaker Zhang Lu's border-crossing films

Ran Ma

戲劇與影視評論 6 巻頁： 80-87 2017年

an Overview of Asian documentary film festivals: Micro-histories and transnational connections

Ran Ma

Stage and Screen Reviews 1 巻頁： 54-62 2016年

Chinese diaspora filmmaker Zhao Deyin and his Border-crossing films

Ran Ma

Stage and Screen Reviews 4 巻頁： 66-72 2016年

an Overview of Asian documentary film festivals: Micro-histories and transnational connections

馬然

戲劇與影視評論 1 巻頁： 54-62 2016年

Spectacles, showcases, marketplaces (and even public spheres): Chinese film festivals as cultural industries 招待有り査読有り

Ran Ma,Cindy Hing-Yuk Wong

Handbook of China's Cultural and Creative Industries 頁： 320-359 2016年

Chinese diaspora filmmaker Zhao Deyin and his Border-crossing films

馬然

戲劇與影視評論 4 巻頁： 66-72 2016年

an Interview with Taiwan Filmmaker Zhao Deyin and His Border-crossing Cinema 査読有り

馬然

Stage and Screen Reviews (in Chinese) Vol.4 巻頁： 66 - 72 2016年

In Praise of the 'New' Collectivism--Reflecting on a Strand of Japanese Independent Filmmaking 査読有り

馬然

Stage and Screen Reviews (in Chinese) Vol. 5 巻頁： 53 - 59 2016年

プロジェクティブなイベントとしてのDMZ国際ドキュメンタリー映画祭2014

馬然, 尹芷汐, Ma Ran, Yin Zhixi

Juncture : 超域的日本文化研究 ( 6 ) 頁： 205 - 209 2015年3月

Regarding the Grassroots Chinese Independent Film Festivals : Modes of Multiplicity and Abnormal Film Networking 招待有り査読有り

Matthew D. Johnson, Luke Vulpiani, Keith B. Wagner, Kiki Tianqi Yu eds

China's IGeneration: Cinema and Moving Image Culture for the Twenty-first Century 頁： 235-253 2014年5月

Departing From Songzhuang: Interviews with Chinese Independent Documentary Filmmakers Feng Yan & Wang Wo

Ran Ma

Asian Cinema 24 巻 ( 1 ) 頁： 105-123 2013年4月

Departing From Songzhuang: Interviews with Chinese Independent Documentary Filmmakers Feng Yan & Wang Wo

Ran Ma

Asian Cinema 24 巻 ( 1 ) 頁： 105-123 2013年4月

Disremembering Shanghai, Celebrating The International: The Curious Case Of Shanghai International Film Festival

Ran Ma

Culture Unbound: Journal Of Current Cultural Research, Shanghai Special Issue 4 巻頁： 147-168 2012年

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