![]() Get help with access Institutional accessĪccess to content on Oxford Academic is often provided through institutional subscriptions and purchases. The tension between the phantom teacher's ventriloquism and the disciple's (coerced) vocal mimesis allegorizes a twofold subaltern negotiation: the negotiation of the present with the historical past and the Self's negotiation with the Other. ![]() On the allegorical level, it registers semicolonial and prepostcolonial tensions in Shanghai and Hong Kong, respectively. On the literal level, it reflects the different sound recording techniques available at diverse historical moments. The phantom's voice is significant in two ways. The traumatic history in these films is crystallized in the image of horror: the disfigured phantom who emerges from the past and whose disembodied voice both inspires and haunts his disciple in the present. Maxu Weibang, 1937, Shanghai), and The Phantom Lover ( Xin yeban gesheng) (dir. Rupert Julian, 1925, Universal Pictures), Song at Midnight ( Yeban gesheng) (dir. The films in question are The Phantom of the Opera (dir. It analyzes the (dis)figuration of traumatic past history and the ways in which it impacts and shapes the present. ![]() This chapter examines the remaking of the horror genre. ![]()
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