Chinese-language Film: Historiography, Poetics, Politics
Sheldon H. Lu, Emilie Yueh-yu Yeh
University of Hawaiʻi Press, 2005 - Performing Arts - 413 pages
This volume, the most comprehensive work to date on Chinese film, explores the manifold dimensions of the subject and highlights areas overlooked in previous studies. Leading scholars take up issues and topics covering the entire range of Chinese cinema. Their cross-cultural engagements with individual films, accomplished with an acute sense of chronology and history, tackle questions of issues related to historiography, poetics, aesthetics, genres, and directorial styles; at the same time, they address the economics of film production and consumption as well as the cultural politics of globalization, identity, subjectivity, nationality, citizenship, and gender formation as embodied in filmic texts.
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CHAPTER TWO ZHANG ZHEN
CHAPTER THREE MEILING
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artists Asian audience Beijing body Bruce Lee camera Cantonese characters Chen Chinese cinema Chinese film Chinese-language film City of Sadness colonial contemporary critics Crouching Tiger dialect dianying diaspora director Dou-san father female Film Festival film history film's filmmakers genre girl global Hollywood Hong Kong cinema Hong Kong films Hou Hsiao-hsien Hou's identity Jackie Chan Japanese Jia Zhangke Khoo Khoo's kung fu language Lee's Lin Cheng-sheng mainland male Mandarin martial arts films Mee Pok Mingliang modern movie narrative nese opera film People's Republic performance political popular postcolonial postmodern postsadness Republic of China Ruijuan scene screen sense sexual Shanghai Shaw Brothers shot Siao Yu Singapore Singapore's social space stars story studies style Sylvia Chang Taipei Taiwan Taiwanese television tion traditional Tsai Ming-liang Twelve Storeys University Press urban viewers Wang woman women Wong Wu's wuxia Xiao Wu Xiaoshan young Yuan Zhang Yimou Zhongguo