By Yingjin Zhang
A spouse to chinese language Cinema is a set of unique essays written by way of specialists in quite a number disciplines that supply a entire assessment of the evolution and present country of chinese language cinema.
- Represents the main finished 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 consciousness to formerly overlooked components corresponding to diasporic filmmaking, self sufficient documentary, movie kinds and methods, queer aesthetics, megastar reviews, movie and different arts or media
- Features numerous chapters that discover China’s new industry financial system, govt coverage, and perform, putting the complex courting among movie and politics in a historic and overseas context
- Includes overviews of chinese language movie reviews in chinese language and English guides
Chapter 1 basic 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 tune 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 appearing 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 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 U.S. 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
Indd 16 12/27/2011 2:44:26 PM General Introduction 17 smooth and multi-perspective camerawork. As Xu contends, this is not technological sophistication; rather, Chinese directors, pushed by the demand of global commercial cinema, are getting away from their strength: the keen awareness of and fascination with what film technology really means. Part V: Issues and Debates “Part V: Issues and Debates” comprises six chapters. Two of them offer overviews of the evolving scholarship on Chinese film, respectively in Chinese and in English, and the remaining chapters take up a select number of recurring issues in Chinese film studies, such as masculinity and sexuality, homosexuality and queer aesthetics, transnationalism and globalization.
For Bao, the displacement of the cinematic and the theatrical effectively evoked asymmetrical binaries of country–city, exteriority–domesticity, and utopic past–dystopic present, and the two media’s mutual framing, contiguous aesthetics, and shared exhibition space in the 1940s propelled a transformation in both media on aesthetic as well as political levels. By examining cinematic and dramatic articulations of social space, political message, affective horizon, and modes of spectatorship, Bao ultimately seeks to reconsider cinema and theater as technologies of perception that engage and mediate experiences of social changes in modern China.
By contrast, Taiwan created a new Asian brand of art cinema that is not simply derivative of either its Japanese or European predecessors. Instead of blindly accepting a distinctive Chinese style, Udden recommends that we come to terms with multifaceted cinematic testaments to an ongoing cultural dynamic. In sum, Udden’s recommendation here dovetails with Jerome Silbergeld’s (in Chapters 21 and 22), namely that we would do better examining individual works and appreciating their unique contributions to world cinema than searching for some innate, preconceived national characteristics.
A Companion to Chinese Cinema by Yingjin Zhang