Suchergebnisse

Preliminary Material -- Introduction -- Chapter One A Historical Review of the Discourse of the Local in Twentieth-Century China -- Chapter Two An Overview of Television Series Productions in the 2000s -- Chapter Three Alternative Translation: Performativity in Dubbing Films in Local Languages -- Chapter Four Empowering Local Community: TV News Talk Shows in Local Languages -- Chapter Five Ambivalent Laughter: Comic Sketches in CCTV's Spring Festival Eve Gala -- Chapter Six Popular Music and Local Youth Identity in the Age of the Internet -- Chapter Seven The Rhetoric of Local Languages as the Marginal: Chinese Underground and Independent Films by Jia Zhangke and Others -- Chapter Eight Multiplicity in Mainstream Studio Films in Local Languages -- Chapter Nine The Unassimilated Voice in Recent Fiction in Local Languages -- Conclusion -- Film, Video, and Audio Sources -- Bibliography -- Index.

The Chengdu-based quartet Higher Brothers recently became the first China-born hip hop group to gain global fame. As rap music – originally a local, ethnic African American culture in the United States – has been continually relocalized all over the world and thus globalized, the Higher Brothers have undergone another process of glocalization. This presents a new case study to further examine the dynamics between the global and the local. Because rap is an intensely verbal art, this article explores how the Higher Brothers construct and negotiate their complicated and multiple (local, national and global) identities from the perspective of language. It analyses the language used in their songs – Sichuan Chengdu Mandarin, Standard Mandarin (Putonghua) and English – before and after they signed with 88rising, the media company that brought the group to the West. Due to the rappers' distinctive ways of vocal production, many of their trap-style songs prove hard to understand not only for global audiences but also for most Chinese national audiences and even for the quartet's local audiences. Drawing on recent studies of mumble rap, this article explores the politics and sonic aesthetics of unintelligibility of the Chinese trap music.

Preliminary Material -- Introduction -- Chapter One A Historical Review of the Discourse of the Local in Twentieth-Century China -- Chapter Two An Overview of Television Series Productions in the 2000s -- Chapter Three Alternative Translation: Performativity in Dubbing Films in Local Languages -- Chapter Four Empowering Local Community: TV News Talk Shows in Local Languages -- Chapter Five Ambivalent Laughter: Comic Sketches in CCTV's Spring Festival Eve Gala -- Chapter Six Popular Music and Local Youth Identity in the Age of the Internet -- Chapter Seven The Rhetoric of Local Languages as the Marginal: Chinese Underground and Independent Films by Jia Zhangke and Others -- Chapter Eight Multiplicity in Mainstream Studio Films in Local Languages -- Chapter Nine The Unassimilated Voice in Recent Fiction in Local Languages -- Conclusion -- Film, Video, and Audio Sources -- Bibliography -- Index.