The Asian Cinema Experience: Styles, Spaces, Theory (Media, Culture and Social Change in Asia Series)

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New York: Knopf, Shaw, Tristan. Silbergeld, Jerome. London: Reaktion, Szeto, Kin-Yan. Tan, See-kam, Peter X. Tam, Kwok-kan and Wimal Dissanayake. New Chinese Cinema. Tang, Xiaobing. Teo, Stephen. Edinburgh: Edinburgh UP, This book unveils the rich layers of the wuxia tradition as it developed in the early Shanghai cinema of the late s and in the Hong Kong and Taiwan film industries of the s and beyond. Stephen Teo follows the tradition from its beginnings in Shanghai cinema to its rise as a serialized form in silent cinema and its prohibition in He shares the fantastic characteristics of the genre, their relationship to folklore, myth, and religion, and their similarities and differences with the kung fu sub-genre of martial arts cinema.

He maps the protagonists and heroes of the genre, in particular the figure of the lady knight-errant, and its chief personalities and masterpieces. Tobias, Mel. Memoirs of an Asian Moviegoer. Tong, Chris. Tsai, Eva. Udden, James. China nights: a selection of 26 Chinese films from the s to the s.

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Paris: s. Wang, Ban. Kaplan and Wang Ban, eds. Wang, Lingzhen, ed. 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, Shujen. Wang, Yiman. Way, E.

Motion Pictures in China. Widmer, Ellen, and David Der-wei Wang, eds. Cambridge: Harvard UP, Wilkerson, Douglas. Wu, Dingbao and Patrick Murphy.

Harvard University Asia Center | Harvard University Press

Handbook of Chinese Popular Culture. Westport: Greenwood Press, Xiao, Zhiwei. Xu, Gang Gary. Yang, Jeff. NY: Simon and Schuster, Yang, Mayfair. Film Discussion Groups in China.

Yang, Qiong. In films of this type, both anxieties and hopes are imagined and exhibited. By examining three science fiction films made in Hong Kong, Taiwan, and Chinese mainland in the late s and early s—that is, The Super Inframan Zhongguo chaoren , , God of War Zhanshen , , and Death Ray on Coral Island Shanhudao shang de siguang , —this paper analyzes the ideologies and anxieties behind such encounters.

In this time of globalization, it is important to examine these early science fiction films in order to explore the relation between local social concerns and their artistic presentation. London: Connoisseur Video, Yau, Esther C. World Cinema Since NY: Ungar Press, , Carson, L. Dittmar, and J.


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Welsch, eds. Yeh, Emily Yeuh-yu. Yi Sha. HK: Xianggang wenxue, , vol. Changsha: Hunan meishu, Yu, Sabrina Qiong. Yue, Ming-Bao. Zha, Jianying. New York: New Press, Shanghai: Shanghai cishu, Zhang, Xudong. Zhang, Yingjin. Cinema and Urban Culture in Shanghai, Stanford: SUP, Chinese National Cinema. New York: Routledge, Zhang, Yingjin and Zhiwei Xiao, eds.

Encyclopedia of Chinese Films.

3.1. What Is Culture?

Zhang, Zhen, ed. Urban Generation filmmakers are vanguard interpreters of the confusion and anxiety triggered by the massive urbanization of contemporary China. This collection brings together some of the most recent original research on this emerging cinema and its relationship to Chinese society. Taibei: Maitian, Beijing: Zhongguo guangbo dianshi, Zhou, Xuelin. Youth Culture in Chinese Language Films. The book relates this important topic to the wider social, cultural, and institutional context, and discusses the relationship between the films and the changes that today are transforming each society.

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Among the areas explored are the differences between the three film industries, their creation of new types of screen hero and heroine, and their conflicts with traditional Chinese attitudes such as respect for age. The many films discussed provide fresh perspectives on the ways in which young people are coping with gender, sexuality, class, coming of age, the pressures of education, and major social shifts such as rural to urban migration. They show young adults in each society striving to construct new value systems for a complex, rapidly changing environment.

Zhu, Ying.

In the past few years there have been many new developments and experiments in the film scenes of mainland China, Taiwan, and Hong Kong, and the Chinese film industries are undergoing dramatic restructuring. Such understanding also has to take into account the internal stratification among various film practices, no longer organized only according to its specific cultural geography mainland, Taiwan, and Hong Kong but also according to different modes of filmmaking and different sectors of the industry and culture.

However, rather than understanding it as a single and self-sufficient system, as the idea of a national cinema tends to assume, they argue that in the age of flexible production Chinese cinema must also be seen as something more flexible, multiple, and open—an internally stratified but interconnected combinatoire with dynamic participation in global cinema. Chen, Xihe. Choi, JungBong. Critiquing the theoretical backbone of globalization, it proposes a shift to cultural regionalization as an interpretive framework suited to the emergent cultural topographies of the region.

The essay then details the major attributes of cultural regionalization by introducing what might be termed the East Asian Cultural Sphere, a temporary crystallization of East Asian cultural interdynamics that has emerged in the post-Cold War juncture and continues to evolve to date. Dai, Jinhua. Desser, David. Farquhar, Mary and Chris Berry.

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Hu, Ke. Lin Niantong. Lu, Hsiao-peng, ed. Pickowicz, Paul. Adopting the perspective of a historian rather than the perspective of a film studies scholar, the essay points to significant breakthroughs in scholarship on Chinese cinema, but dwells on a wide range of problems still facing researchers. Semsel, George, ed.

Film in Contemporary China: Critical Debates, Westport: Praeger, Sun, Shaoyi. Review of an Ongoing Debated in the Chinese Mainland. Xia, Hong. Semsel, ed. Bao, Weihong. By examining the critical interaction between film exhibition, film criticism, and film production, I hope to bring to recognition wartime Chongqing cinema as a highly self-conscious and active participant in an international film culture. Routledge, , Minneapolis: University of Minnesota Press, It was, this book tells us, a dynamic entity, not strictly tied to one media technology, one mode of operation, or one system of aesthetic code.

In Fiery Cinema, Bao traces the permutations of this affective medium from the early through the mid-twentieth century, exploring its role in aesthetics, politics, and social institutions. Mapping the changing identity of cinema in China in relation to Republican-era print media, theatrical performance, radio broadcasting, television, and architecture, Bao has created an archaeology of Chinese media culture. Fiery Cinema advances a radical rethinking of affect and medium as a key insight into the relationship of cinema to the public sphere and the making of the masses.

By centering media politics in her inquiry of the forgotten future of cinema, Bao makes a major intervention into the theory and history of media. Bao, Yuheng.

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The Palgrave Handbook of Asian Cinema

This essay proposes researching Sino-Korean screen connections. Taking these examples, the essay asks what kind of history of Sino-Korean film connections can be written. It argues that the only possibility is a disjunctural history of fragments. Stanford: Stanford UP, , Bren, Frank. Brennan, Nate.