By Yingjin Zhang
A significant other to chinese language Cinema is a set of unique essays written through specialists in a number disciplines that offer a entire review of the evolution and present country of chinese language cinema.
- Represents the main accomplished insurance of chinese language cinema to date
- Applies a multidisciplinary procedure that maps the increasing box of chinese language cinema in daring and definitive ways
- Draws realization to formerly overlooked components reminiscent of diasporic filmmaking, self reliant documentary, movie kinds and methods, queer aesthetics, superstar reports, movie and different arts or media
- Features a number of chapters that discover China’s new marketplace economic climate, govt coverage, and perform, putting the elaborate dating among movie and politics in a historic and foreign context
- Includes overviews of chinese language movie reports in chinese language and English guides
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 ahead of 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 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 movies 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 us in chinese language Cinema of the Reform period (pages 552–574): Michael Berry
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Additional resources for A Companion to Chinese Cinema
Zhang 2010b). ” With bold strokes, she outlines a critical genealogy of Chinese women’s cinema, redefined as cinematic practice by female directors in mainland China, Hong Kong, and Taiwan, and explores three major topics that are critical to feminist film studies – politics of gender and cinema in history, female cinematic subjectivity and spectatorship, and visual pleasures and consumerism. 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.
The availability of English subtitles at the time thus explains the geopolitical imbalance in film scholarship on the PRC, Hong Kong, and Taiwan. Third, as film studies became a new nexus of cutting-edge interdisciplinary research in the 1990s, Berry argues that Chinese film studies in English followed the dominant trends of text-based analysis and pursued issues of identity, gender, sexuality, aesthetics, and modernity. , industry, stardom) while continuing to problematize the national cinema paradigm.
Poet from the Sea, which I recently located in a European archive,2 has affinities with Hou Yao’s other films of the same period, yet contains some different orientations and unique clues to his authorship in particular and the formation of a certain strand of romantic melodrama or a proto- “art cinema” in general. indd 30 12/27/2011 2:47:19 PM Early Chinese Narrative Film 31 both literary adaptations from diverse sources (Maupassant and Tang chuanqi-Yuan drama, respectively). Zhang 2005: 1–88, 345–50).