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The Chinese Cinema Book by Song Hwee Lim,Julian Ward Pdf
This revised and updated new edition provides a comprehensive introduction to the history of cinema in mainland China, Hong Kong and Taiwan, as well as to disaporic and transnational Chinese film-making, from the beginnings of cinema to the present day. Chapters by leading international scholars are grouped in thematic sections addressing key historical periods, film movements, genres, stars and auteurs, and the industrial and technological contexts of cinema in Greater China.
Chinese National Cinema, written for students by a leading scholar traces the formation, negotiation and problematization of the national on the Chinese screen over ninety years.
New Chinese Cinema: Challenging Representations examines the ‘search for roots’ films that emerged from China in the aftermath of the Cultural Revolution. The authors contextualize the films of the so-called Fifth Generation directors who came to prominence in the 1980s and 1990s, such as Chen Kaige, Zhang Yimou, and Tian Zhuangzhuang. Including close analysis of such pivotal films as Farewell My Concubine, Raise the Red Lantern, and The Blue Kite, this book also examines the rise of contemporary Sixth Generation underground directors whose themes embrace the disaffection of urban youth.
Close-ups and Long Shots in Modern Chinese Cinemas by Hsiu-Chuang Deppman Pdf
Two of the most stylized shots in cinema—the close-up and the long shot—embody distinct attractions. The iconicity of the close-up magnifies the affective power of faces and elevates film to the discourse of art. The depth of the long shot, in contrast, indexes the facts of life and reinforces our faith in reality. Each configures the relation between image and distance that expands the viewer’s power to see, feel, and conceive. To understand why a director prefers one type of shot over the other then is to explore more than aesthetics: It uncovers significant assumptions about film as an art of intervention or organic representation. Close-ups and Long Shots in Modern Chinese Cinemas is the first book to compare these two shots within the cultural, historical, and cinematic traditions that produced them. In particular, the global revival of Confucian studies and the transnational appeal of feminism in the 1980s marked a new turn in the composite cultural education of Chinese directors whose shot selections can be seen as not only stylistic expressions, but ethical choices responding to established norms about self-restraint, ritualism, propriety, and female agency. Each of the films discussed—Zhang Yimou’s Red Sorghum, Ang Lee’s Lust, Caution, Hou Hsiao-hsien’s The Assassin, Jia Zhangke’s I Wish I Knew, and Wei Desheng’s Cape No. 7— represents a watershed in Chinese cinemas that redefines the evolving relations among film, politics, and ethics. Together these works provide a comprehensive picture of how directors contextualize close-ups and long shots in ways that make them interpretable across many films as bellwethers of social change.
A Companion to Chinese Cinema by Yingjin Zhang Pdf
A Companion to Chinese Cinema is a collection of original essays written by experts in a range of disciplines that provide a comprehensive overview of the evolution and current state of Chinese cinema. Represents the most comprehensive coverage of Chinese cinema to date Applies a multidisciplinary approach that maps the expanding field of Chinese cinema in bold and definitive ways Draws attention to previously neglected areas such as diasporic filmmaking, independent documentary, film styles and techniques, queer aesthetics, star studies, film and other arts or media Features several chapters that explore China’s new market economy, government policy, and industry practice, placing the intricate relationship between film and politics in a historical and international context Includes overviews of Chinese film studies in Chinese and English publications
Chinese Cinemas in Translation and Dissemination by Haina Jin Pdf
Ever since film was brought into China at the end of the nineteenth century, translation has conquered language, ideological and cultural barriers and facilitated the dissemination of films in China. Offering fresh visions and innovative studies on various important issues, including mistranslation, the dubbing of Hong Kong kung fu films, the dubbing of foreign films in China, the subtitling of Chinese dialect films, the subtitling of independent Chinese documentaries, and a vivid personal account of the translation and distribution of Chinese cinemas in France, this book aims to generate international dialogue by presenting diverse approaches to the translation and dissemination of Chinese cinemas. This book builds on previous research and further expands the horizons of the subfield, with the hope that this intervention will suggest new possibilities and territories for the study of the translation of Chinese cinemas. Translated foreign films have become an integral part of Chinese cinemas and translated Chinese films have in turn enriched the concept of world cinema. In many ways, it is a timely publication in the context of the globalization of the film industry - as Chinese films increasingly go global. The chapters in this book were originally published as a special issue of the Journal of Chinese Cinemas.
Author : Sheldon H. Lu Publisher : University of Hawaii Press Page : 438 pages File Size : 52,7 Mb Release : 1997-10-01 Category : Performing Arts ISBN : 0824818458
Transnational Chinese Cinemas by Sheldon H. Lu Pdf
Zhang Yimou's first film, Red Sorghum, took the Golden Bear Award in 1988 at the Berlin International Film Festival. Since then Chinese films have continued to arrest worldwide attention and capture major film awards, winning an international following that continues to grow. Transnational Chinese Cinemas spans nearly the entire length of twentieth-century Chinese film history. The volume traces the evolution of Chinese national cinema, and demonstrates that gender identity has been central to its formation. Femininity, masculinity and sexuality have been an integral part of the filmic discourses of modernity, nationhood, and history. This volume represents the most comprehensive, wide-ranging, and up-to-date study of China's major cinematic traditions. It is an indispensable source book for modern Chinese and Asian history, politics, literature, and culture.
Author : Christopher G. Rea Publisher : Columbia University Press Page : 454 pages File Size : 41,5 Mb Release : 2021-06-01 Category : Performing Arts ISBN : 9780231547673
Chinese Film Classics, 1922–1949 by Christopher G. Rea Pdf
Winner, 2023 Choice Outstanding Academic Title Chinese Film Classics, 1922–1949 is an essential guide to the first golden age of Chinese cinema. Offering detailed introductions to fourteen films, this study highlights the creative achievements of Chinese filmmakers in the decades leading up to 1949, when the Communists won the civil war and began nationalizing cultural industries. Christopher Rea reveals the uniqueness and complexity of Republican China’s cinematic masterworks, from the comedies and melodramas of the silent era to the talkies and musicals of the 1930s and 1940s. Each chapter appraises the artistry of a single film, highlighting its outstanding formal elements, from cinematography to editing to sound design. Examples include the slapstick gags of Laborer’s Love (1922), Ruan Lingyu’s star turn in Goddess (1934), Zhou Xuan’s mesmerizing performance in Street Angels (1937), Eileen Chang’s urbane comedy of manners Long Live the Missus! (1947), the wartime epic Spring River Flows East (1947), and Fei Mu’s acclaimed work of cinematic lyricism, Spring in a Small Town (1948). Rea shares new insights and archival discoveries about famous films, while explaining their significance in relation to politics, society, and global cinema. Lavishly illustrated and featuring extensive guides to further viewings and readings, Chinese Film Classics, 1922–1949 offers an accessible tour of China’s early contributions to the cinematic arts.
Cover -- Title -- Copyright -- Dedication -- Contents -- List of figures and tables -- List of abbreviations -- Acknowledgements -- 1 Chinese audiences and the cinema of class -- 2 Class on screen and in reality: pre-conditioning audiences -- 3 Let the Bullets Fly: the socialisation of assumptions -- 4 Lost on Journey: prejudice in class relations -- 5 Go Lala Go!: secretaries, shopping and spinsterhood -- 6 House Mania: homeownership, marriageability and masculinity -- 7 The Piano in a Factory: suzhi, industrial heroes and the spectacle of poverty -- 8 Conclusion: class, the film and the filmmaker -- Films list -- Appendix: group discussants -- Let the Bullets Fly -- Lost on Journey -- Go Lala Go! -- House Mania -- The Piano in a Factory -- Index
Author : Yiman Wang Publisher : Hong Kong University Press Page : 233 pages File Size : 49,9 Mb Release : 2013-11-01 Category : Film remakes ISBN : 9789888139163
From melodrama to Cantonese opera, from silents to 3D animated film, Remaking Chinese Cinema traces cross-Pacific film remaking over the last eight decades. Through the refractive prism of Hollywood, Shanghai, and Hong Kong, Yiman Wang revolutionizes our understanding of Chinese cinema as national cinema. Against the diffusion model of national cinema spreading from a central point—Shanghai in the Chinese case—she argues for a multilocal process of co-constitution and reconstitution. In this spirit, Wang analyzes how southern Chinese cinema (huanan dianying) morphed into Hong Kong cinema through transregional and trans-national interactions that also produced a vision of Chinese cinema. Among the book’s highlights are a rereading of The Goddess—one of the best-known silent Chinese films in the West—from the perspective of its wartime Mandarin-Cantonese remake; the excavation of a hybrid genre (the Western costume Cantonese opera film) inspired by Hollywood’s fantasy films of the 1930s and produced in Hong Kong well into the mid-twentieth century; and a rumination on Hollywood’s remake of Hong Kong’s Infernal Affairs and the wholesale incorporation of “Chinese elements” in Kung Fu Panda 2. Positing a structural analogy between the utopic vision, the national cinema, and the location-specific collective subject position, the author traces their shared urge to infinitesimally approach, but never fully and finitely reach, a projected goal. This energy precipitates the ongoing processes of cross-Pacific film remaking, which constitute a crucial site for imagining and enacting (without absolving) issues of national and regional border politics. These issues unfold in relation to global formations such as colonialism, Cold War ideology, and postcolonial, postsocialist globalization. As such, Remaking Chinese Cinema contributes to the ongoing debate on (trans-)national cinema from the unique perspective of century-long border-crossing film remaking.
Since 1984, Chinese cinema has been the most dramatic entry onto the international film scene. China into Film is the first book to look at contemporary Chinese cinema as a visual art and to illustrate the ways in which it has been shaped by centuries of Chinese tradition. Jerome Silbergeld looks at the significance of gender roles, the strategies of film-makers in coping with state censorship, the translation of novels into films, the continuing attachment of film-makers to melodrama, and cinematic critiques of Maoism and post-Maoist culture. Abundantly illustrated with Chinese paintings as well as scenes from such internationally acclaimed films as Yellow Earth, Red Sorghum, Raise the Red Lantern and Farewell My Concubine, China into Film reveals a cinematic form at once excitingly new and deeply imbedded in traditional Chinese visual culture.
The first of its kind in English, this collection explores twenty one well established and lesser known female filmmakers from mainland China, Hong Kong, Taiwan, and the Chinese diaspora. Sixteen scholars illuminate these filmmakers' negotiations of local and global politics, cinematic representation, and issues of gender and sexuality, covering works from the 1920s to the present. Writing from the disciplines of Asian, women's, film, and auteur studies, contributors reclaim the work of Esther Eng, Tang Shu Shuen, Dong Kena, and Sylvia Chang, among others, who have transformed Chinese cinematic modernity. Chinese Women's Cinema is a unique, transcultural, interdisciplinary conversation on authorship, feminist cinema, transnational gender, and cinematic agency and representation. Lingzhen Wang's comprehensive introduction recounts the history and limitations of established feminist film theory, particularly its relationship with female cinematic authorship and agency. She also reviews critiques of classical feminist film theory, along with recent developments in feminist practice, altogether remapping feminist film discourse within transnational and interdisciplinary contexts. Wang's subsequent redefinition of women's cinema, and brief history of women's cinematic practices in modern China, encourage the reader to reposition gender and cinema within a transnational feminist configuration, such that power and knowledge are reexamined among and across cultures and nation-states.
Author : G. Andrew Stuckey Publisher : Hong Kong University Press Page : 160 pages File Size : 52,9 Mb Release : 2018-08-17 Category : Performing Arts ISBN : 9789888390816
Metacinema in Contemporary Chinese Film by G. Andrew Stuckey Pdf
Depictions within a movie of either filmmaking or film watching are hardly novel, but the dramatic expansion of the reach of the metacinematic into contemporary Chinese cinemas is nothing short of remarkable. To G. Andrew Stuckey, the prevalence of metacinematic features forms the basis of a discourse on film arising from the films themselves. Such a discourse, in turn, outlines the boundaries of the possible for film in China as aesthetic or sociopolitical practice. Metacinema also draws our attention to the presence of the audience, people actively responding to a film. In elucidating the affective responses elicited by the metacinematic mode in the viewers, Stuckey argues that metacinema reflects ways of being in the world that audiences may take up for themselves. The films studied in this book are drawn across the full spectrum of Chinese films made in mainland China, Hong Kong, and Taiwan during the 1990s and 2000s, from award-winning conceptual art films to popular crowd pleasers, blockbusters to low-budget productions, and documentary-style social realist exposé projects to studio assembly-line investments. The recurrence of the metacinematic across this broad range of works is indicative of its relevance to Chinese films today, and the analysis of these diverse examples allows us to gauge the cultural, social, and aesthetic implications of Chinese cinemas as a whole. “Stuckey surveys a broad swath of contemporary Chinese cinema, from popular blockbusters to elite art films, around the theme of metacinema, yielding new insights into both previously neglected films and those already acknowledged as contemporary classics. The result is a fascinating dive into the growing and diversifying cinema culture of China today.” —Jason McGrath, University of Minnesota “Stuckey’s brilliant work, Metacinema in Contemporary Chinese Film, offers insightful close analyses of films by key directors from the PRC (Jiang Wen, Lou Ye, Jia Zhangke, and Li Yu), Hong Kong (Peter Chan), and Taiwan (Tsai Ming-liang). This clearly written book is essential reading for scholars and students of Chinese cinemas. Stuckey’s study of genre and metacinema makes it a must-read for anyone interested in cinema.” —Michelle Bloom, University of California, Riverside
Hsiu-Chang Deppman puts landmark contemporary Chinese films in the context of their literary origins & explores how the best Chinese directors adapt fictional narratives & styles for film.