By Yingjin Zhang
A spouse to chinese language Cinema is a set of unique essays written via specialists in more than a few disciplines that supply a entire evaluate of the evolution and present nation of chinese language cinema.
- Represents the main finished insurance 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 consciousness to formerly ignored parts similar to diasporic filmmaking, self sufficient documentary, movie types and methods, queer aesthetics, famous person reviews, movie and different arts or media
- Features a number of chapters that discover China’s new marketplace economic climate, govt coverage, and perform, putting the tricky courting among movie and politics in a old and overseas context
- Includes overviews of chinese language movie reports in chinese language and English courses
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 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 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 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 resources for A Companion to Chinese Cinema
Her careful tracing of melodrama’s passage from Europe to America, from theater to cinema, intimated a move toward thinking of melodrama not only as trans-generic phenomena but also in translational and transnational terms. ” This insightful observation may be stretched further to account for the transnational or transcultural proliferation and modernization of melodrama, especially in the wake of industrial capitalism and attendant colonial or semicolonial modernity in the era of mechanical reproduction.
Conceptually, she traces the distinction between cinema and theater in early Western film theory and draws on recent scholarship on intermediality. Historically, she reviews the symbiosis, cross-fertilization, and mutual distanciation between Chinese cinema and theater in the first half of the twentieth century. Textually, she analyzes a cluster of “homecoming” films that feature the postwar theater workers who returned from the hinterland only to find themselves denied dwelling in Shanghai. 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.
It is in and through this diverse engagement with historical forces, whether of the market, politics, or patriarchal traditions, as Wang argues, that Chinese women have exhibited their agency, not only in reorienting gender configurations in history, but also in articulating different meanings and aesthetics in their cinematic practices. In current scholarship, rarely has one been provided with a more comprehensive account of Chinese women’s cinema in such a concise format, and Lingzhen Wang is commended particularly for bringing to our attention active filmmakers in Hong Kong and Taiwan, a tradition long overlooked in film studies.