The Oxford Handbook of Chinese Cinemas

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 ...

Author: Carlos Rojas

Publisher: Oxford University Press

ISBN: 9780199765607

Category: History

Page: 730

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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.

The Oxford Handbook of Chinese Cinemas

His monographs include Looking Awry: The Unconscious in Contemporary Chinese Art (2012), The Cross-Cultural Žižek Reader (2011), Sinascape: Contemporary Chinese Cinema (2007), and Greenwood Encyclopedia of World Popular Culture (2007).

Author: Carlos Rojas

Publisher: Oxford University Press

ISBN: 9780199988440

Category: Performing Arts

Page: 792

View: 860

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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.

The Oxford Handbook of Japanese Cinema

Okada has contributed essays to numerous books, mainly in Japanese, including Cinema and Greater East Asia Co-Prosperity ... of the Canon (Routledge, 2009) and The Oxford Handbook of Chinese Cinemas (Oxford University Press, 2013).

Author: Daisuke Miyao

Publisher: Oxford University Press

ISBN: 9780199731664

Category: History

Page: 497

View: 918

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This book provides a multifaceted single-volume account of Japanese cinema. It addresses productive debates about what Japanese cinema is, where Japanese cinema is, as well as what and where Japanese cinema studies is, at the so-called period of crisis of national boundary under globalization and the so-called period of crisis of cinema under digitalization.

The Oxford Handbook of Modern Chinese Literatures

Cinema (Routledge), The Distorting Mirror: Visual Modernity in China (University of Hawai'i Press), and Creativity ... He is also the co-editor (with Eileen Cheng-yin Chow) of The Oxford Handbook of Chinese Cinemas (Oxford University ...

Author: Carlos Rojas

Publisher: Oxford University Press

ISBN: 9780199383320

Category: Literary Criticism

Page: 704

View: 453

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With over forty original essays, The Oxford Handbook of Modern Chinese Literatures offers an in-depth engagement with the current analytical methodologies and critical practices that are shaping the field in the twenty-first century. Divided into three sections--Structure, Taxonomy, and Methodology--the volume carefully moves across approaches, genres, and forms to address a rich range topics that include popular culture in Late Qing China, Zhang Guangyu's Journey to the West in Cartoons, writings of Southeast Asian migrants in Taiwan, the Chinese Anglophone Novel, and depictions of HIV/AIDS in Chu T'ien-wen's Notes of a Desolate Man.

American and Chinese Language Cinemas

He has published articles in Journal of American East-Asian Relations, Modern China, Chinese Historical Review, Twentieth Century China, and Asian Cinema. He has also contributed essays to the collections The Oxford Handbook of Chinese ...

Author: Lisa Funnell

Publisher: Routledge

ISBN: 9781317910244

Category: Social Science

Page: 269

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Critics frequently describe the influence of "America," through Hollywood and other cultural industries, as a form of cultural imperialism. This unidirectional model of interaction does not address, however, the counter-flows of Chinese-language films into the American film market or the influence of Chinese filmmakers, film stars, and aesthetics in Hollywood. The aim of this collection is to (re)consider the complex dynamics of transnational cultural flows between American and Chinese-language film industries. The goal is to bring a more historical perspective to the subject, focusing as much on the Hollywood influence on early Shanghai or postwar Hong Kong films as on the intensifying flows between American and Chinese-language cinemas in recent decades. Contributors emphasize the processes of appropriation and reception involved in transnational cultural practices, examining film production, distribution, and reception.

Youth Culture in Chinese Language Film

Rojas, Carlos (2013) 'Introduction: Chinese cinemas and the art of extrapolation', in Carlos Rojas and Eileen Cheng-yin Chow (eds), The Oxford Handbook of Chinese Cinemas, Oxford: Oxford University Press, pp. 1–20.

Author: Xuelin Zhou

Publisher: Routledge

ISBN: 9781317194118

Category: Social Science

Page: 196

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This book explores the vigorous film cultures of mainland China, Taiwan and Hong Kong from the perspective of youth culture. The book relates this important topic to the wider social, cultural, and institutional context, and discusses the relationship between the films and the changes that today are transforming each society. Among the areas explored are the differences between the three film industries, their creation of new types of screen hero and heroine, and their conflicts with traditional Chinese attitudes such as respect for age. The many films discussed provide fresh perspectives on the ways in which young people are coping with gender, sexuality, class, coming of age, the pressures of education, and major social shifts such as rural to urban migration. They show young adults in each society striving to construct new value systems for a complex, rapidly changing environment.

Chinese Revolutionary Cinema

Bao, '“A Vibrating Art in the Air”', 183. Johnson, 'Propaganda Film', 18. Laikwan Pang, 'Between Will and Negotiation: Film Policy in the First Three Years of the People's Republic of China', in The Oxford Handbook of Chinese Cinemas ...

Author: Jessica Ka Yee Chan

Publisher: Bloomsbury Publishing

ISBN: 9781786734341

Category: Performing Arts

Page: 288

View: 931

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Engaging with fiction films devoted to heroic tales from the decade and a half between 1949 and 1966, this book reconceives state propaganda as aesthetic experiments that not only radically transformed acting, cinematography and screenwriting in socialist China, but also articulated a new socialist film theory and criticism. Rooted in the interwar avant-garde and commercial cinema, Chinese revolutionary cinema, as a state cinema for the newly established People's Republic, adapted Chinese literature for the screen, incorporated Hollywood narration, appropriated Soviet montage theory and orchestrated a new, glamorous, socialist star culture. In the wake of decolonisation, Chinese film journals were quick to project and disseminate the country's redefined self-image to Asia, Africa and Latin America as they helped to create an alternative vision of modernity and internationalism. Revealing the historical contingency of the term 'propaganda', Chan uncovers the visual, aural, kinaesthetic, sexual and ideological dynamics that gave rise to a new aesthetic of revolutionary heroism in world cinema. Based on extensive archival research, this book's focus on the distinctive rhetoric of post-war socialist China will be of value to East Asian Cinema scholars, Chinese Studies academics and those interested in the history of twentieth-century socialist culture.

New Chinese Language Documentaries

(2013), “Crossing the Same River Twice: Documentary Reenactment and the Founding of PRC Documentary Cinema,” in The Oxford Handbook of Chinese Cinemas (eds. Carlos Rojas and Eileen Cheng-Yin Chow), New York: Oxford University Press, ...

Author: Kuei-fen Chiu

Publisher: Routledge

ISBN: 9781317936954

Category: Performing Arts

Page: 266

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Documentary filmmaking is one of the most vibrant areas of media activity in the Chinese world, with many independent filmmakers producing documentaries that deal with a range of sensitive socio-political problems, bringing to their work a strongly ethical approach. This book identifies notable similarities and crucial differences between new Chinese-language documentaries in mainland China and Taiwan. It outlines how documentary filmmaking has developed, contrasts independent documentaries with dominant official state productions, considers how independent documentary filmmakers go about their work, including the work of exhibiting their films and connecting with audiences, and discusses the content of their documentaries, showing how the filmmakers portray a wide range of subject matter regarding places and people, and how they deal with particular issues including the underprivileged, migrants and women in an ethical way. Throughout the book demonstrates how successful Chinese-language independent documentary filmmaking is, with many appearances at international film festivals and a growing number of award-winning titles.

Screening China s Soft Power

“Taiwan New Cinema: Small Nation with Soft Power.” In The Oxford Handbook of Chinese Cinemas, edited by Carlos Rojas and Eileen Cheng-yin Chow. Oxford University Press, 2013, pp. 152–69. Lovric, Bruno. “Soft Power.

Author: Paola Voci

Publisher: Routledge

ISBN: 9781317209430

Category: Social Science

Page: 266

View: 584

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Promoting China's cultural soft power by disseminating modern Chinese values is one of the policies of President Xi Jinping. Although, it is usually understood as a top-down initiative, implemented willingly or unwillingly by writers, filmmakers, artists, and so on, and often manifesting itself in clumsy and awkward ways, for example, the concept of "the Chinese dream," intended to rival and perhaps appeal more strongly than "the American dream," modern Chinese values are in fact put forward in many ways by many different cultural actors. Through analyses of film festivals, CCTV, Confucius Institutes, auteurs, blockbusters, reality TV, and online digital cultures, this book exposes the limitations of China's officially promoted soft power in both conception and practice, and proposes a pluralistic approach to understanding Chinese soft power in local, regional, and transnational contexts. As such, the book demonstrates the limitations of existing theories of soft power, and argues that the US-derived concept of soft power can benefit from being examined from a China perspective.

Globalization and Contemporary Chinese Cinema

wang, B. (2013). Art, politics, and internationalism: Korean war films in Chinese cinema. In C. Rojas & E. C. Y. Chow (Eds.), The oxford handbook of Chinese cinemas (pp. 250–268). Oxford: Oxford University Press. wang, C.王春荣. (1997).

Author: Xuelin Zhou

Publisher: Springer

ISBN: 9789811043284

Category: Performing Arts

Page: 132

View: 618

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This pivot considers key transformations within the Chinese film industry since the country opened its doors to the outside world in the late 1970s, and moved from an ideologically-centred censorship system to one of contestation and cooperation between politics, art and market. Focusing on Zhang Yimou, arguably one of China’s most innovative and controversial filmmakers and directors, the author addresses the challenges faced by contemporary Chinese cinema in the face of Hollywood dominance, notably making genre films in an increasingly globalized context, and the necessary compromises between the local and global, the national and the international. Through a combination of textual analysis and context study, it examines action-oriented films Zhang made as responses to a rapidly changing film market and industry.