By Yingjin Zhang
A spouse to chinese language Cinema is a set of unique essays written by way of specialists in quite a number disciplines that supply a complete evaluation of the evolution and present kingdom of chinese language cinema.
- Represents the main accomplished insurance of chinese language cinema to date
- Applies a multidisciplinary strategy that maps the increasing box of chinese language cinema in daring and definitive ways
- Draws awareness to formerly ignored parts similar to diasporic filmmaking, self sufficient documentary, movie kinds and methods, queer aesthetics, celebrity reports, movie and different arts or media
- Features a number of chapters that discover China’s new industry economic climate, govt coverage, and perform, putting the complex courting among movie and politics in a old and foreign context
- Includes overviews of chinese language movie experiences in chinese language and English courses
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 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 tune 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 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 USA in chinese language Cinema of the Reform period (pages 552–574): Michael Berry
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Additional info for A Companion to Chinese Cinema
Together, the chapters in Part V demonstrate that, just as Chinese cinema has been deeply involved in transnational, translocal practices for over a century, so Chinese film studies must pay attention to fissures and ruptures in filmmaking and film scholarship. In Chapter 25, “Chinese Film Scholarship in Chinese,” Chen Xihe offers a comprehensive survey of film studies in the Chinese language from its early years to the new century. As he explains, Chinese film scholarship in Chinese mostly appears in mainland China, Taiwan, and Hong Kong.
The particular branch introduces a cluster of striking props and colors that make up Sirk’s signature “ironic mise-en-scène” eulogized by critics who rediscovered him in the early 1970s (Mercer and Schingler 2004). This chapter does not concern Sirk directly, but rather the relationship between Anglo-American melodrama studies spurred by that rediscovery and non-Western A Companion to Chinese Cinema, First Edition. Edited by Yingjin Zhang. © 2012 Blackwell Publishing Ltd. Published 2012 by Blackwell Publishing Ltd.
In Chapter 21, “Cinema and the Visual Arts of China,” Silbergeld poses challenging questions: What unique insights are offered by film critiques that focus intensely on film’s visuality – on body language, the natural setting, visual references to other films and to other visual traditions, literature, and history – especially in a cinematic tradition that has been heavily regulated by script-reading but visually illiterate or irresponsive censors? Starting with previous scattered remarks on the similarity between cinema and Chinese handscroll painting, Silbergeld proceeds to explore whether there is a “Chinese way” of seeing or visual narration, to what degree Chinese film lends itself to Western forms of art analysis, and whether or not Chinese film conforms to Western theories of film and photography.
A Companion to Chinese Cinema by Yingjin Zhang