We are grateful for the support of our editor, Katie Gallof, who expressed interest in this project when it was just a kernel of an idea shared during a casual conversation, and who oversaw the book's progress with unwavering enthusiasm. We are also thankful for the feedback provided by the book's anonymous reviewers, whose perceptive insights helped to guide it to its fi nal form. At Bloomsbury, Mary Al-Sayed and Michelle Chen skillfully and patiently led us through every phase of the editing process, including the production of the book's cover. Th e fi nal cover is based on a design generously created by Federico Antonini, and features an image from Le Singe de la lumière (2002) by Ėrik Bullot, whom we thank for granting us permission to use it.
Th e scholars who contributed essays to the volume were diligent collaborators, and we appreciate their dedication to the project. We are fortunate to have had the opportunity to include two interviews and two translated essays to complement their work. We thank T.J. Demos and Carlos A. Gutiérrez for their expert and stimulating conversation, and Gian Piero Brunetta for enthusiastically granting us permission to translate the excerpts from his Forma e parola nel cinema: Il fi lm muto, Pasolini, Antonioni , originally published by Liviana Editrice (Padua) in 1970. Masha Salazkina introduced us to Juan Piqueras' essay "Poorly Timed Campaigns: Versions, Dubbing, Subtitles, " which was originally published online by the Translation Project coordinated by the Permanent Seminar on Histories of Film Th eories. We thank Lisa Jarvinen, the essay's translator, for writing both its introduction and the bio for Piqueras that appears at the end of the volume. Enrique Fibla graciously supplied us with archival photos from the issue of Nuestro Cinema in which the essay fi rst appeared. We are further indebted to Louis Bayman and Meredith Brown Melançon for their valuable editorial advice on several of the chapters, and to Barbara Long for her careful copyediting of the fi nal manuscript.
Finally, we would like to thank our colleagues at John Cabot University and Hobart and William Smith Colleges, as well as our families and closest friends, whose inspiring conversation and selfl ess support made this book possible. vii viii Tunisia's history: the country's independence from France in 1956 and the 1967 Arab-Israeli War. In doing so, his essay simultaneously presents a history of new Tunisian cinema and an exploration of its historical engagements as they are defi ned by linked concerns with language and national identity. Using Johnnie To's Duzhan ( Dukzin / Drug War , 2013) as a case study, Victor Fan employs the conceptual framework of extraterritoriality to argue that dialect cinemas "insist within Chinese cinemas as a potential force that resists the historical tendency to incorporate regional cinematic practices into a larger national imaginary. " His expansive historical exegesis of Hong Kong Cantonese cinema supports his conclusion that contemporary multilingual fi lms such as Drug War constitute a cinema of reindividuation through which the use of dialect undermines the linguistic coherence of national models of culture.
Th e essays in Part IV, "Politics, " share the engagement with national and regional fi lm histories that enliven the previous section, but foreground the politics of multilingualism, partly through a shared investment in recognizing the monolingual practices that oft en accompany, challenge or displace cinematic multilingualism. Focusing on Japanese-led fi lm production in Manchuria and Korea during the late 1930s and early 1940s, Kate Taylor-Jones provides insight into the linguistic politics of Colonial Japan, whose contradictions challenged the ethos of the Empire and deeply undermined its purportedly inclusive cultural politics. Her analysis of cinema as an explicit ideological tool traverses a range of examples, from the fi ctional recruitment fi lms screened in Korean cinemas from 1941 to 1945 to the bilingual Man' ei star Yamaguchi Yoshiko/Ri Kōran's status as a "symbol of a 'borderless fantasy' in an idealized construction of an East Asian state. " Th e emphasis on the value of Yamaguchi as a cultural asset to the Japanese Empire's management of multilingualism fi nds a complement in Yiman Wang's extended study of Anna May Wong's Chinese-American star image. Wang traces the actor's cosmopolitan itinerary through Hollywood and Europe, and notes that through "(dis-)play, " Wong both self-Orientalized her star image and disrupted the Orientalizing stereotypes imposed by audiences and critics. Wong's Chinese handwriting, for example, which circulated most notably through her autograph, "went beyond a mere decorative inscription of the 'inscrutable Orient' to become a visual icon of her name and agency presented to her transnational audiences, " deploying what Wang refers to as "scriptural Orientalism. "
Jaap Verheul turns his attention to the analysis of an emergent intercultural paradox, examining the linguistic and political dynamics involved in a recent
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