ABSTRACT
This chapter examines three border-crossing films by the Korean-Chinese (chaoxianzu) filmmaker Zhang Lu, namely Desert Dreams (2008), Dooman River (2010), and Scenery (2013). Using the conceptual framework of translocality, this study first explores how Zhang, as a translocal auteur, leveraged his multi-layered identities to engage the global film festival network. Not only does Zhang reinvent the border as a new scale to scrutinize the translocal movement of deterritorialized subjects and diasporic peoples, he also sheds light on the significance of place in identity formation and further examines the power geometry of globalization. As such, Zhang's translocal filmmaking both intersects and challenges us to rethink Chinese independent filmmaking and Korean diasporic cinema.
