论文部分内容阅读
如果说《林来疯》以个人的历程重新确定了“美国”的身份和梦想,《家族的国度》则以“既非此亦非彼”的历史困局相呼应。美国1970年代平权运动不仅是黑人族群的战斗,也鼓舞了其他少数族裔表达诉求。在纽约唐人街,崔明慧、徐克与Peter Chow创办了非赢利组织Asian Cine Vision(ACV),以训练亚裔影视工作者制作有线电视节目为己任。两年之后更多的学者、策展人加入,带来更多元、异质的影像作品,由此创立了美国亚裔影展简称亚美影展),后在1990年代更名为美国亚裔国际影展(Asian American International Film Festival,AAIFF),距今已有36年。影展发展至今有两个清晰的主打战略
If we say that “Lin Lao-mad” has redefined the identity and dream of “American ” in his personal journey, “the nation of the family” echoes the historical dilemma of “neither this nor it ”. The United States’ rights-equity campaign in the 1970s not only fights against black ethnic groups, but also encourages other ethnic minorities to express their demands. In New York Chinatown, Cui Minghui, Tsui Hark and Peter Chow founded Asian Cine Vision (ACV), a non-profit organization that trains Asian film and television producers to make cable television programs. Two years later, more scholars and curators joined to create more diverse and heterogeneous video works, thus creating the Asian American Film Festival (AIA). Later in the 1990s, it was renamed the Asian American Film Festival (Asian American International Film Festival, AAIFF), 36 years ago. Film development so far there are two clear main strategy