?The Chinese Cinema Book provides an essential guide to the cinemas of the People's Republic of China, Hong Kong, Taiwan and the Chinese diaspora, from early cinema to the present day. With contributions from leading international scholars, the book is structured around five thematic sections: Territories, Trajectories, Historiographies; Early Cinema to 1949; The Forgotten Period: 1949-80; The New Waves; and Stars, Auteurs and Genres.
This important collection addresses issues of film production and exhibition and places Chinese cinema in its national and transnational contexts. Individual chapters examine major film movements such as the Shanghai cinema of the 1930s, Fifth Generation film-makers and the Hong Kong New Wave, as well as key issues such as stars and auteurs. The book will be an invaluable resource for students and scholars, as well as for anyone wanting to deepen their understanding of the cinemas of Greater China.
SONG HWEE LIM is Senior Lecturer in Film Studies at the University of Exeter, UK. He is the author of Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas (2006), co-editor of Remapping World Cinema: Identity, Culture and Politics in Film (2006), and founding editor of the Journal of Chinese Cinemas. JULIAN WARD is Senior Lecturer in Chinese Studies at the University of Edinburgh, UK. He is Associate Editor of the Journal of Chinese Cinemas.
Acknowledgments.- Notes on Contributors.- Introduction: The Coming of Age of Chinese Cinemas Studies; S.Hwee Lim & J.Ward.- PART I: TERRITORIES, TRAJECTORIES, HISTORIOGRAPHIES.- Transnational Chinese Cinema Studies; C.Berry.- National Cinema as Translocal Practice: Reflections on Chinese Film Historiography; Y.Zhang.- Cinemas of the Chinese Diaspora; G.Marchetti.- Six Chinese Cinemas in Search of a Historiography; S.Hwee Lim.- PART II: EARLY CINEMA TO 1949.- Shadow Magic and the Early History of Film Exhibition in China; X.Huang & Z.Xiao.- The Making of a National Cinema: Shanghai Films of the 1930s; L.Pang.- Wartime Cinema: Reconfiguration and Border Navigation; Y.Wang.- Chinese Film-making on the Eve of the Communist Revolution; P.G.Pickowicz.- PART III: THE FORGOTTEN PERIOD: 1949-80.- The Remodelling of a National Cinema: Chinese Films of the 17 Years (1949-66); J.Ward.- Healthy Realism in Taiwan, 1964-80: Film Style, Cultural Policies, and Mandarin Cinema; G.Hong.- The Hong Kong Cantonese Cinema: Emergence, Development and Decline; S.Teo.- PART IV: THE NEW WAVES.- The Fifth Generation: A Re-assessment; W.Larson.- Taiwan New Cinema and Its Legacy; T.Lu.- The Hong Kong New Wave: A Critical Reappraisal; V.P.Y.Lee.- PART V: STARS, AUTEURS AND GENRES.- Dragons Forever: Chinese Martial Arts Stars; L.Hunt.- The Contemporary Wuxia Revival: Genre Remaking and the Hollywood Transnational Factor; K.Chan.- On the Shoulders of Giants: Tsai Ming-liang, Jia Zhangke, Fruit Chan and the Struggles of Second Generation Auteurism; J.Udden.- The Urban Generation: Underground and Independent Films from the PRC; J.McGrath.- Contemporary Mainstream PRC Cinema; Y.Braester.- Contemporary Meta Chinese Film Stardom and Transnational Transmedia Celebrity; A.Ciecko.- Afterword: Liquidity of Being; R.Chow.- Appendix.- Book-length Studies of Chinese Cinemas in the English Language; W.Wang, L.Williams & S.Hwee Lim.- Chinese Names; Z.Yijie.- Chinese Film Titles; Z.Yijie.- Index.