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A Companion to Chinese Cinema
“This outstanding anthology offers an encyclopedic coverage of Chinese cinema form multiple angles, and will be the standard reference in Chinese cinema studies in the years to come.” “Like its editor, this Companion is reliable, encyclopedic, and friendly. Traveling from silent melodramas to the urban generation, from Mainland China to Hong Kong and Taiwan, we now have the docent we need.” “This stunning collection—a must-read for anyone interested in the complicated dynamics of Chinese cinema past and present—features state-of-the-art research by highly respected veteran scholars and brilliant newcomers.”
- Sheldon Lu, University of California, Davis
- Dudley Andrew, Yale University
- Paul G. Pickowicz, University of California, San Diego
Yingjin Zhang (Edited by), Y Zhang (Author)
9781444330298, Wiley
Hardback, published 30 March 2012
704 pages
24.9 x 17.8 x 4.3 cm, 1.361 kg
“This outstanding anthology offers an encyclopedic coverage of Chinese cinema from multiple angles, and will be the standard reference in Chinese cinema studies in the years to come.” “Like its editor, this Companion is reliable, encyclopedic, and friendly. Traveling from silent melodramas to the urban generation, from Mainland China to Hong Kong and Taiwan, we now have the docent we need.” “This stunning collection – a must-read for anyone interested in the complicated dynamics of Chinese cinema past and present – features state-of-the-art research by highly respected veteran scholars and brilliant newcomers.” A Companion to Chinese Cinema features a collection of original readings that offer a comprehensive overview of the evolution and current state of Chinese cinema. Essays consider Chinese cinema from a variety of historical and geopolitical centers – Shanghai, Hong Kong, and Taiwan – and offer a critical examination of major accomplishments of Chinese film studies in various categories: film history and geography, industry and institution, media and arts, genre and representation, and issues and debates. This collaborative project brings together specialists across a range of disciplines to consider Chinese cinema from a variety of methodological approaches and theoretical frameworks. This interdisciplinary approach allows for an unprecedented breadth of innovative ideas that facilitate a better understanding of Chinese cinema as it relates to artistic projects, social practices, political institutions, and expanding international markets. A Companion to Chinese Cinema offers an important analysis of a growing force in international cinema.
Sheldon Lu, University of California, Davis
Dudley Andrew, Yale University
Paul G. Pickowicz, University of California, San Diego
Acknowledgments viii List of Figures ix List of Tables xiii List of Contributors xiv 1 General Introduction 1 Part I History and Geography 23 2 Transplanting Melodrama: Observations on the Emergence of Early Chinese Narrative Film 25 3 Artists, Cadres, and Audiences: Chinese Socialist Cinema, 1949–1978 42 4 Directors, Aesthetics, Genres: Chinese Postsocialist Cinema, 1979–2010 57 5 Hong Kong Cinema Before 1980 75 6 The Hong Kong New Wave 95 7 Gender Negotiation in Song Cunshou’s Story of Mother and Taiwan Cinema of the Early 1970s 118 8 Second Coming: The Legacy of Taiwan New Cinema 133 Part II Industry and Institution 151 9 Propaganda and Censorship in Chinese Cinema 153 10 Chinese Media Capital in Global Context 179 11 Film and Society in China: The Logic of the Market 197 12 Vulnerable Chinese Stars: From Xizi to Film Worker 218 13 Ports of Entry: Mapping Chinese Cinema’s Multiple Trajectories at International Film Festivals 239 Part III Genre and Representation 263 14 In Search of Chinese Film Style(s) and Technique(s) 265 15 Film Genre and Chinese Cinema: A Discourse of Film and Nation 284 16 Performing Documentation: Wu Wenguang and the Performative Turn of New Chinese Documentary 299 17 Chinese Women’s Cinema 318 18 From Urban Films to Urban Cinema: The Emergence of a Critical Concept 346 Part IV Arts and Media 359 19 The Intertwinement of Chinese Film and Literature: Choices and Strategies in Adaptations 361 20 Diary of a Homecoming: (Dis-)Inhabiting the Theatrical in Postwar Shanghai Cinema 377 21 Cinema and the Visual Arts of China 400 22 From Mountain Songs to Silvery Moonlight: Some Notes on Music in Chinese Cinema 417 23 Cross-Fertilization in Chinese Cinema and Television: A Strategic Turn in Cultural Policy 429 24 Chinese Cinema and Technology 449 Part V Issues and Debates 467 25 Chinese Film Scholarship in Chinese 469 26 Chinese Film Scholarship in English 484 27 The Return of the Repressed: Masculinity and Sexuality Reconsidered 499 28 Homosexuality and Queer Aesthetics 518 29 Alter-centering Chinese Cinema: The Diasporic Formation 535 30 The Absent American: Figuring the United States in Chinese Cinema of the Reform Era 552 Bibliography 575 Filmography 628 Index 655
Yingjin Zhang
Zhang Zhen
Paul Clark
Yingjin Zhang
Robert Chi
Gina Marchetti
James Wicks
Darrell William Davis Copyrighted Material
Matthew D. Johnson
Michael Curtin
Stanley Rosen
Sabrina Qiong Yu
Nikki J. Y. Lee and Julian Stringer
James Udden
Stephen Teo
Qi Wang
Lingzhen Wang
Yomi Braester
Liyan Qin
Weihong Bao
Jerome Silbergeld
Jerome Silbergeld
Ying Zhu and Bruce Robinson
Gary G. Xu
Chen Xihe
Chris Berry
Shuqin Cui
Helen Hok-Sze Leung
Yiman Wang
Michael Berry
Subject Areas: Society & culture: general [JF]
