By Yingjin Zhang
A spouse to chinese language Cinema is a suite of unique essays written by means of specialists in a number of disciplines that offer a finished assessment of the evolution and present kingdom of chinese language cinema.
- Represents the main finished insurance of chinese language cinema to date
- Applies a multidisciplinary method that maps the increasing box of chinese language cinema in daring and definitive ways
- Draws recognition to formerly overlooked parts reminiscent of diasporic filmmaking, self sufficient documentary, movie kinds and methods, queer aesthetics, celebrity reviews, movie and different arts or media
- Features a number of chapters that discover China’s new marketplace financial system, executive coverage, and perform, putting the tricky dating among movie and politics in a old and foreign context
- Includes overviews of chinese language movie reviews in chinese language and English guides
Chapter 1 normal 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 prior to 1980 (pages 75–94): Robert Chi
Chapter 6 The Hong Kong New Wave (pages 95–117): Gina Marchetti
Chapter 7 Gender Negotiation in music 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 worldwide Context (pages 179–196): Michael Curtin
Chapter eleven movie and Society in China (pages 197–217): Stanley Rosen
Chapter 12 susceptible 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 motion pictures 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 expertise (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
Through his innovative “translation” of both Chinese and Western sources in drama and literature, as well as the blending of film genre elements across realism, melodrama, comedy, and the martial arts, Hou Yao experimented with film as a new art form built on other sister arts, with the aspiration to create a socially engaging and formally rigorous cinema, beyond the prevalent commercial model exemplified by major studios such as Tianyi and Mingxing. Poet from the Sea, which stars none other than Hou Yao himself, is a “pure” film in the sense that it is not an adaptation and showcases an elaborate cinematography and a keen aesthetic investment in film form (including the tinted “color” palette).
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. In particular, two chapters address two sides of the same transnational practices often neglected by current scholarship: the diasporic formation of Chinese filmmaking (by Yiman Wang) and the trope of the absent American in the transitional period of the Reform-era Chinese cinema (by Michael Berry).
1969) who have consciously developed complex queer themes and a distinctive queer aesthetic. Through extensive examples, Leung reveals New Queer Chinese Cinema to be vibrant, but she contends that the representation of homosexuality is, ironically, its least interesting aspect. Instead, films that expose the limits of the heterosexual kinship structure, play with the fluidity between gender identity, gender expression, and the sexed body, and chart the unpredictable paths of sexual and emotional bonds are, for Leung, truly worthy of our critical attention.
A Companion to Chinese Cinema by Yingjin Zhang