By Yingjin Zhang
A better half to chinese language Cinema is a suite of unique essays written by means of specialists in more than a few disciplines that supply a complete evaluate of the evolution and present kingdom of chinese language cinema.
- Represents the main finished assurance of chinese language cinema to date
- Applies a multidisciplinary method that maps the increasing box of chinese language cinema in daring and definitive ways
- Draws consciousness to formerly ignored parts corresponding to diasporic filmmaking, autonomous documentary, movie types and methods, queer aesthetics, celebrity experiences, movie and different arts or media
- Features a number of chapters that discover China’s new industry financial system, executive coverage, and perform, putting the complicated courting among movie and politics in a old and overseas context
- Includes overviews of chinese language movie stories in chinese language and English courses
Chapter 1 normal creation (pages 1–22): Yingjin Zhang
Chapter 2 Transplanting Melodrama (pages 23–41): Zhang Zhen
Chapter three Artists, Cadres, and Audiences (pages 42–56): Paul Clark
Chapter four administrators, Aesthetics, Genres (pages 57–74): Yingjin Zhang
Chapter five Hong Kong Cinema earlier than 1980 (pages 75–94): Robert Chi
Chapter 6 The Hong Kong New Wave (pages 95–117): Gina Marchetti
Chapter 7 Gender Negotiation in track Cunshou's tale of mom and Taiwan Cinema of the Early Nineteen Seventies (pages 118–132): James Wicks
Chapter eight moment Coming (pages 133–150): Darrell William Davis
Chapter nine Propaganda and Censorship in chinese language Cinema (pages 151–178): Matthew D. Johnson
Chapter 10 chinese language Media Capital in worldwide Context (pages 179–196): Michael Curtin
Chapter eleven movie and Society in China (pages 197–217): Stanley Rosen
Chapter 12 susceptible chinese language Stars (pages 218–238): Sabrina Qiong Yu
Chapter thirteen Ports of access (pages 239–261): Nikki J. Y. Lee and Julian Stringer
Chapter 14 looking for chinese language movie Style(s) and Technique(s) (pages 263–283): James Udden
Chapter 15 movie style and chinese language Cinema (pages 284–298): Stephen Teo
Chapter sixteen acting Documentation (pages 299–317): Qi Wang
Chapter 17 chinese language Women's Cinema (pages 318–345): Lingzhen Wang
Chapter 18 From city motion pictures to city Cinema (pages 346–358): Yomi Braester
Chapter 19 The Intertwinement of chinese language movie and Literature (pages 359–376): Liyan Qin
Chapter 20 Diary of a Homecoming: (Dis?)Inhabiting the Theatrical in Postwar Shanghai Cinema (pages 377–399): Weihong Bao
Chapter 21 Cinema and the visible Arts of China (pages 400–416): Jerome Silbergeld
Chapter 22 From Mountain Songs to Silvery Moonlight (pages 417–428): Jerome Silbergeld
Chapter 23 Cross?Fertilization in chinese language Cinema and tv (pages 429–448): Ying Zhu and Bruce Robinson
Chapter 24 chinese language Cinema and expertise (pages 449–465): Gary G. Xu
Chapter 25 chinese language movie Scholarship in chinese language (pages 467–483): Chen Xihe
Chapter 26 chinese language movie Scholarship in English (pages 484–498): Chris Berry
Chapter 27 The go back of the Repressed (pages 499–517): Shuqin Cui
Chapter 28 Homosexuality and Queer Aesthetics (pages 518–534): Helen Hok?Sze Leung
Chapter 29 Alter?centering chinese language Cinema (pages 535–551): Yiman Wang
Chapter 30 The Absent American: Figuring the USA in chinese language Cinema of the Reform period (pages 552–574): Michael Berry
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Additional info for A Companion to Chinese Cinema
Shi-zheng Chen [b. 1963], Guo Xiaolu [b. 1973], and Zhang Liling). As the “other” site that traverses the “Chinese” center, Wang argues, diasporic filmmaking constitutes the alter-center where “Chinese” issues are staged and contested in interaction with non-Sinic contexts. ” Continuing with the geopolitics of cultural imagination, Michael Berry directs our attention to a different kind of alterity in Chapter 30, “The Absent American: Figuring the United States in Chinese Cinema of the Reform Era,” which explores a recurring trope by which the United States is framed primarily through a strategy of absence in contemporary Chinese cinema.
Finally, the significance of Chinese cinema must be measured by its enduring contribution to world cinema. Merely having its film stills grace the covers of world cinema books in English is by no means sufficient, even though it is apparently a current fashion in academic publication indicative of the increasing visibility of China and Chinese cinema (Nochimson 2010; D ˇ urovicˇová and Newman 2010). indd 21 12/27/2011 2:44:27 PM 22 Yingjin Zhang by its rigorous contribution to international film studies.
Indd 12 12/27/2011 2:44:26 PM General Introduction 13 the formation and disintegration of commercial, institutional, and personal channels that enable women to enter the filmmaking industry, and she demonstrates that women’s participation in filmmaking is geopolitically and historically contingent, and the meaning and significance of their films are diverse and resistant to any uniform interpretations. It is in and through this diverse engagement with historical forces, whether of the market, politics, or patriarchal traditions, as Wang argues, that Chinese women have exhibited their agency, not only in reorienting gender configurations in history, but also in articulating different meanings and aesthetics in their cinematic practices.