The Chinese Cinema Book

The Chinese Cinema Book provides an essential guide to the cinemas of the People's Republic of China, Hong Kong, Taiwan and the Chinese diaspora, from early cinema to the present day.

Author: Song Hwee Lim

Publisher: Bloomsbury Publishing

ISBN: 9781844575800

Category: Performing Arts

Page: 222

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The Chinese Cinema Book provides an essential guide to the cinemas of the People's Republic of China, Hong Kong, Taiwan and the Chinese diaspora, from early cinema to the present day. With contributions from leading international scholars, the book is structured around five thematic sections: Territories, Trajectories, Historiographies; Early Cinema to 1949; The Forgotten Period: 1949–80; The New Waves; and Stars, Auteurs and Genres. This important collection addresses issues of film production and exhibition and places Chinese cinema in its national and transnational contexts. Individual chapters examine major film movements such as the Shanghai cinema of the 1930s, Fifth Generation film-makers and the Hong Kong New Wave, as well as key issues such as stars and auteurs. The book will be an invaluable resource for students and scholars, as well as for anyone wanting to deepen their understanding of the cinemas of Greater China.

The Chinese Cinema Book

More importantly, if politics was the premise of most Chinese-language films (including those from Taiwan, ... In terms of publication, over one hundred book-length studies on Chinese cinema have appeared between 1991 and 2010,6 and the ...

Author: Song Hwee Lim

Publisher: Bloomsbury Publishing

ISBN: 9781911239550

Category: Performing Arts

Page: 336

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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.

The Poetics of Chinese Cinema

His book Cinema Approaching Reality: Locating Chinese Film Theory was published in 2015 by the University of Minnesota Press. His film The Well was an official selection of the São Paolo International Film Festival; it was also screened ...

Author: Gary Bettinson

Publisher: Springer

ISBN: 9781137553096

Category: Social Science

Page: 227

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This book examines the aesthetic qualities of particular Chinese-language films and the rich artistic traditions from which they spring. It brings together leading experts in the field, and encompasses detailed and wide-ranging case studies of films such as Hero, House of Flying Daggers, Spring in a Small Town, 24 City, and The Grandmaster, and filmmakers including Hou Hsiao-hsien, Jia Zhangke, Chen Kaige, Fei Mu, Zhang Yimou, Johnnie To, and Wong Kar-wai. By illuminating the form and style of Chinese films from across cinema history, The Poetics of Chinese Cinema testifies to the artistic value and uniqueness of Chinese-language filmmaking.

A Companion to Chinese Cinema

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.

Author: Yingjin Zhang

Publisher: John Wiley & Sons

ISBN: 9781444330298

Category: Performing Arts

Page: 705

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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

The Oxford Handbook of Chinese Cinemas

He is the author of Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas (2006) and coeditor of Remapping World Cinema: Identity, Culture and Politics in Film (2006) and The Chinese Cinema Book ...

Author: Carlos Rojas

Publisher: Oxford University Press

ISBN: 9780199988440

Category: Performing Arts

Page: 792

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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.

Art Politics and Commerce in Chinese Cinema

This interdisciplinary book provides a comprehensive reappraisal of Chinese cinema, surveying the evolution of film production and consumption in mainland China as a product of shifting relations between art, politics, and commerce.

Author: Ying Zhu

Publisher: Hong Kong University Press

ISBN: 9789622091764

Category: Social Science

Page: 308

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"Ying Zhu and Stanley Rosen have brought together some of the leading scholars and critics of Chinese cinema to rethink the political mutations, market manifestations, and artistic innovations that have punctuated a century of Chinese screen memories. From animation to documentary, history of the industry to cinematic attempts to recreate history, propaganda to piracy, the influx of Hollywood imports to Chinese-style blockbusters, Art, Politics, and Commerce in Chinese Cinema presents a fresh set of critical approaches to the field that should be required reading for scholars, students, and anyone interested in the past, present, and future of one of the most vibrant and dynamic film industries in the world."-Michael Berry, author, Jia Zhangke's "Hometown Trilogy" and A History of Pain "An excellent collection of articles that together offer a superb introduction to contemporary Chinese film studies."-Richard Pena, Program Director, Film Society of Lincoln Center "This is one of the most important, comprehensive, and profoundly important books about Chinese cinema. As correctly pointed out by the editors of the volume, understanding of the emerging film industry in China requires a systematic examination of arts, politics, and commerce of Chinese cinema. By organizing the inquiry of the Chinese film industry around its local and global market, politics, and film art, the authors place the current transformation of Chinese cinema within a large framework. The book has set a new standard for research on Chinese cinema. It is a must-read for students of arts, culture, and politics in China."-Tianjian Shi, Duke University Art politics, and commerce are intertwined everywhere, but in China the interplay is explicit, intimate, and elemental, and nowhere more so than in the film industry. Understanding this interplay in the era of market reform and globalization is essential to understanding mainland Chinese cinema. This interdisciplinary book provides a comprehensive reappraisal of Chinese cinema, surveying the evolution of film production and consumption in mainland China as a product of shifting relations between art, politics, and commerce. Within these arenas, each of the twelve chapters treats a particular history, development, genre, filmmaker or generation of filmmakers, adding up to a distinctively comprehensive rendering of Chinese cinema. The book illuminates China's changing stat-society relations, the trajectory of marketization and globalization, the effects of China's start historical shifts, Hollywood's role, the role of nationalism, and related themes of interest to scholars of Asian studies, cinema and media studies, political science, sociology comparative literature and Chinese language. Ying Zhu is professor of cinema studies in the Department of Media Culture and co-coordinator of the Modern China Studies Program at the City University of New York, College of Staten Island. Stanley Rosen is director of the East Asian Studies Center and a professor of political science at the University of Southern California.

Chinese Cinema

Finally, in the epilogue, Po-Shek Fu and Stanley Rosen grapple with two key issues that can be traced through all the chapters of this book: (1) the global negotiations around Chinese and Sinophone identity, and (2) the place of cinema ...

Author: Jeff Kyong-McClain

Publisher: Hong Kong University Press

ISBN: 9789888528530

Category: Performing Arts

Page: 267

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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

Chinese Cinemas

(2006) Red Velvet Seat: Women's Writing on the First Fifty Years of Cinema. London: Verso. Larson, Wendy (2011) 'The Fifth Generation: A Reassessment', in Song Hwee Lim and Julian Ward, eds. The Chinese Cinema Book.

Author: Felicia Chan

Publisher: Routledge

ISBN: 9781317431497

Category: Social Science

Page: 202

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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.

Contemporary Chinese Cinema and Visual Culture

A portion of my book examines examples of Taiwan cinema. The “postsocialism” model does not apply in this instance. Evidently, contemporary Taiwan is not a party-state as it was in the days of the rule of the Nationalist Party ...

Author: Sheldon Lu

Publisher: Bloomsbury Publishing

ISBN: 9781350234192

Category: Performing Arts

Page: 256

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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.

The Early Transnational Chinese Cinema Industry

Journal of Chinese Cinemas 10, no. 3 (2016): 247–264. ———. “Transnational Chinese Cinema Studies.” In Chinese Cinema Book, edited by Song Hwee Lim and Julian Ward, 11. London: BFI, 2010. Butrick, Richard P. “The Motion Picture Industry ...

Author: Yongchun Fu

Publisher: Routledge

ISBN: 9780429953781

Category: Social Science

Page: 142

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Based on extensive original research, including in studio archives, industrial surveys, official records, trade journals, and English and Chinese newspapers, this book explores the role of the American film industry in the development of cinema in China. It examines the Chinese industry’s response to the American industry and the consequences of this response. It also considers the attitudes of Chinese film practitioners towards Hollywood and the contribution of those figures who acted as intermediaries between the two industries. Overall, the book casts much new light on the early development of the film industry in China and demonstrates the huge influence Hollywood had on it.