By Yingjin Zhang
A better half to chinese language Cinema is a suite of unique essays written through specialists in a number of disciplines that supply a complete assessment of the evolution and present kingdom of chinese language cinema.
- Represents the main accomplished assurance of chinese language cinema to date
- Applies a multidisciplinary technique that maps the increasing box of chinese language cinema in daring and definitive ways
- Draws awareness to formerly overlooked parts comparable to diasporic filmmaking, self sufficient documentary, movie kinds and methods, queer aesthetics, superstar stories, movie and different arts or media
- Features numerous chapters that discover China’s new marketplace economic system, govt coverage, and perform, putting the elaborate courting among movie and politics in a historic and foreign context
- Includes overviews of chinese language movie reviews in chinese language and English guides
Chapter 1 common 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 ahead of 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 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 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 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 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 USA in chinese language Cinema of the Reform period (pages 552–574): Michael Berry
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Additional resources for A Companion to Chinese Cinema
Computers, cell phones). New media technologies have revolutionized the production, transmission, reception, and preservation of screen products – fictional, documentary, avant-garde – in contemporary China, and nowadays “smaller screens” regularly intervene in everyday life with its pronounced “lightness of realities” (Voci 2010). Returning to the framework of comparative film studies, I believe that Chinese cinema would benefit a great deal from a reconsideration of its relationship with Hollywood, not just in the current era of globalization but also in earlier historical periods (Xiao 2010), as well as its relationship with East Asian cinema or Asian cinema in general.
The premise of Poet from the Sea is not traditional kinship and family sentiment in upheaval but the viability of a modern (male) individual’s burning passion in love and creativity. In that it is quite different from Hou Yao’s A String of Pearls, which is about an upper-middle-class nuclear family’s unraveling and recuperation in the modern city replete with consumer desire and its perils. , eyesight) – and the quest for moral redemption as well as physical and affective restoration. 3 Apparently, Minxin, led by the equally if not more idealistic and artistically inclined Li Minwei (praised as the “father of Hong Kong cinema”), gave Hou Yao much creative freedom, as evidenced in the overflowing romanticism and subjective stylization in Poet from the Sea, in contrast to the social realist and didactic tendencies in his earlier films.
Founded in 1996, the Movie Channel soon became CCTV’s second most popular channel by promoting cinematic arts and exposing smaller films to a much wider audience, and as such it serves as an example of mutually beneficial collaboration between the two industries. Meanwhile, the China Film Group was formed in 1999 as a film-based multimedia conglomerate (including the Movie Channel), which has been given structural and regulatory advantages and charged with the mission of developing itself into a globally competitive media titan (likewise observed by Michael Curtin in Chapter 10).
A Companion to Chinese Cinema by Yingjin Zhang