By Yingjin Zhang
A better half to chinese language Cinema is a suite of unique essays written by means of specialists in a number of disciplines that offer a finished evaluate of the evolution and present nation of chinese language cinema.
- Represents the main accomplished insurance of chinese language cinema to date
- Applies a multidisciplinary strategy that maps the increasing box of chinese language cinema in daring and definitive ways
- Draws recognition to formerly overlooked parts reminiscent of diasporic filmmaking, self reliant documentary, movie types and methods, queer aesthetics, celebrity reviews, movie and different arts or media
- Features a number of chapters that discover China’s new marketplace financial system, executive coverage, and perform, putting the complicated courting among movie and politics in a ancient and overseas context
- Includes overviews of chinese language movie experiences in chinese language and English courses
Chapter 1 common 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 sooner 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 international Context (pages 179–196): Michael Curtin
Chapter eleven movie and Society in China (pages 197–217): Stanley Rosen
Chapter 12 weak 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 know-how (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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Extra info for A Companion to Chinese Cinema
Together, the chapters in Part V demonstrate that, just as Chinese cinema has been deeply involved in transnational, translocal practices for over a century, so Chinese film studies must pay attention to fissures and ruptures in filmmaking and film scholarship. In Chapter 25, “Chinese Film Scholarship in Chinese,” Chen Xihe offers a comprehensive survey of film studies in the Chinese language from its early years to the new century. As he explains, Chinese film scholarship in Chinese mostly appears in mainland China, Taiwan, and Hong Kong.
Eyesight) – and the quest for moral redemption as well as physical and affective restoration. 3 Apparently, Minxin, led by the equally if not more idealistic and artistically inclined Li Minwei (praised as the “father of Hong Kong cinema”), gave Hou Yao much creative freedom, as evidenced in the overflowing romanticism and subjective stylization in Poet from the Sea, in contrast to the social realist and didactic tendencies in his earlier films. indd 31 12/27/2011 2:47:19 PM 32 Zhang Zhen Shanghai and Hong Kong, as well as a suicide attempt at the seaside and scenarios of rescue (Q.
Her father died long ago. Her mother Mrs. ) Thus at this serene end of the world, we find this couple of naïve lovers with a pure heart. While harking back to the theme of free love, as opposed to arranged marriage and filial obligations, which Hou explored as a scriptwriter in Between Love and Filial Duty (Li Zeyuan, Mei Xuechou, 1925) and as co-director in Cupid’s Puppets (Mei Xuechou, Hou Yao, 1925), both made for the Changcheng Studio,5 Poet from the Sea shifts focus from women protagonists seeking socioeconomic independence and emotional fulfillment and a more pronounced female perspective, to the problem of male desire or an intellectual’s troubled subjectivity on the margins of society.