Chinese Cinemas

Chinese Cinemas: International Perspectives examines the impact the rapid expansion of Chinese filmmaking in mainland China has had on independent and popular Chinese cinemas both inside and outside China. While the large Chinese ...

Author: Felicia Chan

Publisher: Routledge

ISBN: 9781317431497

Category: Social Science

Page: 202

View: 672


Chinese Cinemas: International Perspectives examines the impact the rapid expansion of Chinese filmmaking in mainland China has had on independent and popular Chinese cinemas both in and outside of China. While the large Chinese markets are coveted by Hollywood, the commercial film industry within the People’s Republic of China has undergone rapid expansion since the 1990s. Its own production, distribution and exhibition capacities have increased exponentially in the past 20 years, producing box-office success both domestically and abroad. This volume gathers the work of a range of established scholars and newer voices on Chinese cinemas to address questions that interrogate both Chinese films and the place and space of Chinese cinemas within the contemporary global film industries, including the impact on independent filmmaking both within and outside of China; the place of Chinese cinemas produced outside of China; and the significance of new internal and external distribution and exhibition patterns on recent conceptions of Chinese cinemas. This is an ideal book for students and researchers interested in Chinese and Asian Cinema, as well as for students studying topics such as World Cinema and Asian Studies.

Rethinking Transnational Chinese Cinemas

Millet, Raphaël (2003) Le cinema de Singapour: paradis perdue, doute existential, crise identitaire et mélancolie ... Ng, Kenny K.K. (2008) 'Inhibition versus exhibition: political censorship of Chinese and foreign cinemas in postwar ...

Author: Jeremy E. Taylor

Publisher: Routledge

ISBN: 9781000155143

Category: Social Science

Page: 172

View: 183


The Amoy-dialect film industry emerged in the 1950s, producing cheap, b-grade films in Hong Kong for direct export to the theatres of Manila Chinatown, southern Taiwan and Singapore. Films made in Amoy dialect - a dialect of Chinese - reflected a particular period in the history of the Chinese diaspora, and have been little studied due to their ambiguous place within the wider realm of Chinese and East Asian film history. This book represents the first full length, critical study of the origin, significant rise and rapid decline of the Amoy-dialect film industry. Rather than examining the industry for its own sake, however, this book focuses on its broader cultural, political and economic significance in the region. It questions many of the assumptions currently made about the ‘recentness’ of transnationalism in Chinese cultural production, particularly when addressing Chinese cinema in the Cold War years, as well as the prominence given to ‘the nation’ and ‘transnationalism’ in studies of Chinese cinemas and of the Chinese Diaspora. By examining a cinema that did not fit many of the scholarly models of ‘transnationalism’, that was not grounded in any particular national tradition of filmmaking and that was largely unconcerned with ‘nation-building’ in post-war Southeast Asia, this book challenges the ways in which the history of Chinese cinemas has been studied in the recent past.

The Oxford Handbook of Chinese Cinemas

Her articles on film have appeared or are forthcoming in the journals Public Culture, Modern Chinese Literature and Culture, China Perspectives, Jump Cut, Journal of Chinese Cinemas, and positions: east asia cultures critique.

Author: Carlos Rojas

Publisher: Oxford University Press

ISBN: 9780199988440

Category: Performing Arts

Page: 792

View: 563


What does it mean for a cinematic work to be "Chinese"? Does it refer specifically to a work's subject, or does it also reflect considerations of language, ethnicity, nationality, ideology, or political orientation? Such questions make any single approach to a vast field like "Chinese cinema" difficult at best. Accordingly, The Oxford Handbook of Chinese Cinemas situates the term more broadly among various different phases, genres, and distinct national configurations, while taking care to address the consequences of grouping together so many disparate histories under a single banner. Offering both a platform for cross-disciplinary dialogue and a mapping of Chinese cinema as an expanded field, this Handbook presents thirty-three essays by leading researchers and scholars intent on yielding new insights and new analyses using three different methodologies. Chapters in Part I investigate the historical periodizations of the field through changing notions of national and political identity -- all the way from the industry's beginnings in the 1920s up to its current forms in contemporary Hong Kong, Taiwan, and the global diaspora. Chapters in Part II feature studies centered on the field's taxonomical formalities, including such topics as the role of the Chinese opera in technological innovation, the political logic of the "Maoist film," and the psychoanalytic formula of the kung fu action film. Finally, in Part III, focus is given to the structural elements that comprise a work's production, distribution, and reception to reveal the broader cinematic apparatuses within which these works are positioned. Taken together, the multipronged approach supports a wider platform beyond the geopolitical and linguistic limitations in existing scholarship. Expertly edited to illustrate a representative set of up to date topics and approaches, The Oxford Handbook of Chinese Cinemas provides a vital addition to a burgeoning field still in its formative stages.

Transnational Chinese Cinemas

To the detriment of China's national cinema , the general public seems to have a predilection for foreign films . In view of these developments , the state of art film is seriously jeopardized . Those qualities that marked New Chinese ...

Author: Sheldon H. Lu

Publisher: University of Hawaii Press

ISBN: 0824818458

Category: Performing Arts

Page: 438

View: 124


Zhang Yimou's first film, Red Sorghum, took the Golden Bear Award in 1988 at the Berlin International Film Festival. Since then Chinese films have continued to arrest worldwide attention and capture major film awards, winning an international following that continues to grow. Transnational Chinese Cinemas spans nearly the entire length of twentieth-century Chinese film history. The volume traces the evolution of Chinese national cinema, and demonstrates that gender identity has been central to its formation. Femininity, masculinity and sexuality have been an integral part of the filmic discourses of modernity, nationhood, and history. This volume represents the most comprehensive, wide-ranging, and up-to-date study of China's major cinematic traditions. It is an indispensable source book for modern Chinese and Asian history, politics, literature, and culture.

The Trials and Tribulations of Taiwanese Cinema (1949-1962) by Lee Yung-chuan When the embattled kuomintang (KMT) government retreated to Taiwan in 1 949, Taiwan cinema was virtually still a blank page. Only several state studios ...

Author: 李泳泉


ISBN: UCSD:31822034881300

Category: Motion pictures

Page: 450

View: 899


The Chinese Cinema Book

26 National cinema as translocal practice: Reflections on Chinese Figure 2.3. cannot be dismissed simply as fashion. ... Transnational Chinese Cinemas: Identity, Nationhood, Gender (Honolulu: University of Hawaii Press, 1997).

Author: Song Hwee Lim

Publisher: Bloomsbury Publishing

ISBN: 9781911239550

Category: Performing Arts

Page: 336

View: 392


This revised and updated new edition provides a comprehensive introduction to the history of cinema in mainland China, Hong Kong and Taiwan, as well as to disaporic and transnational Chinese film-making, from the beginnings of cinema to the present day. Chapters by leading international scholars are grouped in thematic sections addressing key historical periods, film movements, genres, stars and auteurs, and the industrial and technological contexts of cinema in Greater China.

Chinese Cinema

Sheldon Hsiao-peng Lu, ed., Transnational Chinese Cinemas: Identity, Nationhood, Gender (Honolulu: University of Hawai'i Press, 1997); Sheldon H. Lu and Emile Yueh-yu Yeh, eds., Chinese-Language Film: Historiography, Poetics, ...

Author: Jeff Kyong-McClain

Publisher: Hong Kong University Press

ISBN: 9789888528530

Category: Performing Arts

Page: 267

View: 388


In Chinese Cinema: Identity, Power, and Globalization, a variety of scholars explore the history, aesthetics, and politics of Chinese cinema as the Chinese film industry grapples with its place as the second largest film industry in the world. Exploring the various ways that Chinese cinema engages with global politics, market forces, and film cultures, this edited volume places Chinese cinema against an array of contexts informing the contours of Chinese cinema today. The book also demonstrates that Chinese cinema in the global context is informed by the intersections and tensions found in Chinese and world politics, national and international co-productions, the local and global in representing Chineseness, and the lived experiences of social and political movements versus screened politics in Chinese film culture. This work is a pioneer investigation of the topic and will inspire future research by other scholars of film studies. “This edited volume offers a much-needed account of alternative ways of envisioning Chinese cinema in the special context of China and the world. Its vigorous theoretical framework, which puts emphasis on interactions in the context of China and the world, will complement and update publications in related areas.” —Yiu-Wai Chu, The University of Hong Kong; author of Main Melody Films: Hong Kong Directors in Mainland China “Chinese Cinema: Identity, Power, and Globalization offers a collection of studies of modern Chinese films and their global connections, with a contemporary emphasis. Its authors’ insightful analyses of films—famous, obscure, and new to the twenty-first-century screen—elucidate numerous contextual factors relevant for understanding the history and aesthetics of Chinese cinemas.” —Christopher Rea, The University of British Columbia; author of Chinese Film Classics, 1922–1949

Ecology and Chinese Language Cinema

(1994), on the other hand, used the title New Chinese Cinemas to emphasize the differences between those enterprises. The same can be said of Journal of Chinese Cinemas, perhaps the most important journal devoted exclusively to the ...

Author: Sheldon H. Lu

Publisher: Routledge

ISBN: 9781000697872

Category: Performing Arts

Page: 288

View: 890


This edited collection explores new developments in the burgeoning field of Chinese ecocinema, examining a variety of works from local productions to global market films, spanning the Maoist era to the present. The ten chapters examine films with ecological significance in mainland China, Hong Kong, and Taiwan, including documentaries, feature films, blockbusters and independent productions. Covering not only well-known works, such as Under the Dome, Wolf Totem, Tie Xi Qu: West of the Tracts, and Mermaid, this book also provides analysis of less well-known but critically important works, such as Anchorage Prohibited, Luzon, and Three Flower/Tri-Color. The unique perspectives this book provides, along with the comprehensive engagement with existing Chinese and English scholarship, not only extend the scope of the growing field of ecocinematic studies, but also seeks to reform the means through which Chinese-language eco-films are understood in the years to come. Ecology and Chinese-Language Ecocinema will be of huge interest to students and scholars in the fields of Chinese cinema, environmental studies, media and communication studies.

Contemporary Chinese Cinema and Visual Culture

Chinese-Language Film Discourse) Dangdai dianying 当代电影(Contemporary Film) no. 8 (2014): 53–8. Li, Jie. “National Cinema for a Puppet State: The Manchurian Motion Picture Association.” In Oxford Handbook Chinese Cinemas, ed.

Author: Sheldon Lu

Publisher: Bloomsbury Publishing

ISBN: 9781350234208

Category: Performing Arts

Page: 256

View: 658


Sheldon Lu's wide-ranging new book investigates how filmmakers and visual artists from mainland China, Hong Kong and Taiwan have envisioned China as it transitions from a socialist to a globalized capitalist state. It examines how the modern nation has been refashioned and re-imagined in order to keep pace with globalization and transnationalism. At the heart of Lu's analysis is a double movement in the relationship between nation and transnationalism in the Chinese post-socialist state. He considers the complexity of how the Chinese economy is integrated in the global capitalist system while also remaining a repressive body politic with mechanisms of control and surveillance. He explores the interrelations of the local, the national, the subnational, and the global as China repositions itself in the world. Lu considers examples from feature and documentary film, mainstream and marginal cinema, and a variety of visual arts: photography, painting, digital video, architecture, and installation. His close case studies include representations of class, masculinity and sexuality in contemporary Taiwanese and Chinese cinema; the figure of the sex worker as a symbol of modernity and mobility; and artists' representations of Beijing at the time of the 2008 Olympics.

A Companion to Chinese Cinema

The Journal of Chinese Cinemas, a refereed periodical devoted exclusively to this growing field, was inaugurated in the United Kingdom in 2007, academic publishers have increased the number of new books in Chinese film studies, ...

Author: Yingjin Zhang

Publisher: John Wiley & Sons

ISBN: 9781444355970

Category: Performing Arts

Page: 560

View: 210


A Companion to Chinese Cinema is a collection of original essays written by experts in a range of disciplines that provide a comprehensive overview of the evolution and current state of Chinese cinema. Represents the most comprehensive coverage of Chinese cinema to date Applies a multidisciplinary approach that maps the expanding field of Chinese cinema in bold and definitive ways Draws attention to previously neglected areas such as diasporic filmmaking, independent documentary, film styles and techniques, queer aesthetics, star studies, film and other arts or media Features several chapters that explore China’s new market economy, government policy, and industry practice, placing the intricate relationship between film and politics in a historical and international context Includes overviews of Chinese film studies in Chinese and English publications