By Yingjin Zhang
A significant other to chinese language Cinema is a suite of unique essays written by means of specialists in a number disciplines that supply a finished review of the evolution and present nation of chinese language cinema.
- Represents the main entire insurance of chinese language cinema to date
- Applies a multidisciplinary procedure that maps the increasing box of chinese language cinema in daring and definitive ways
- Draws recognition to formerly ignored parts akin to diasporic filmmaking, self reliant documentary, movie types and strategies, queer aesthetics, celebrity reports, movie and different arts or media
- Features a number of chapters that discover China’s new marketplace economic system, executive coverage, and perform, putting the complex courting among movie and politics in a ancient and overseas context
- Includes overviews of chinese language movie reviews in chinese language and English guides
Chapter 1 common advent (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 track Cunshou's tale of mom and Taiwan Cinema of the Early 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 acting 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 us 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
Animation films have a long history in Chinese cinema (Quiquemelle 1991; Yan and Suo 2005), and China’s recent investment in this sector – especially in digitization and in higher education – by the government and the industry alike is part of a new synergetic venture in building a regionally or even globally competitive creative industry in China (Lent and Xu 2010: 121–5). Understandably, there are many other areas of Chinese cinema that are not treated in the current project but deserve further attention.
Zhang 2005: 151–98). His career in film was cut short when he was killed by the Japanese in Singapore, where he had moved in 1940 to work for the Shaws. Wu et al. 1999: 733). Poet from the Sea, which I recently located in a European archive,2 has affinities with Hou Yao’s other films of the same period, yet contains some different orientations and unique clues to his authorship in particular and the formation of a certain strand of romantic melodrama or a proto- “art cinema” in general. indd 30 12/27/2011 2:47:19 PM Early Chinese Narrative Film 31 both literary adaptations from diverse sources (Maupassant and Tang chuanqi-Yuan drama, respectively).
In Chapter 28, “Homosexuality and Queer Aesthetics,” Helen Leung traces the emergence of “New Queer Chinese Cinema,” maps its distinctive articulations across mainland China, Hong Kong, and Taiwan, and locates its significance within Queer Cinema globally. In mainland China, the coexistence of strict censorship measures against homosexual representations on the one hand, and a lively underground film movement on the other, means that queer themes are exclusively found in the works of independent and often underground productions from directors such as Zhang Yuan (b.
A Companion to Chinese Cinema by Yingjin Zhang