By Yingjin Zhang
A better half to chinese language Cinema is a set of unique essays written by way of specialists in a variety of disciplines that offer a finished review of the evolution and present country of chinese language cinema.
- Represents the main accomplished insurance of chinese language cinema to date
- Applies a multidisciplinary process that maps the increasing box of chinese language cinema in daring and definitive ways
- Draws realization to formerly overlooked components reminiscent of diasporic filmmaking, self sustaining documentary, movie types and methods, queer aesthetics, famous person stories, movie and different arts or media
- Features a number of chapters that discover China’s new industry financial system, govt coverage, and perform, putting the complex dating among movie and politics in a ancient and overseas context
- Includes overviews of chinese language movie stories in chinese language and English courses
Chapter 1 basic advent (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 track 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 international 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 acting 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 us in chinese language Cinema of the Reform period (pages 552–574): Michael Berry
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Extra resources for A Companion to Chinese Cinema
Poet from the Sea, which stars none other than Hou Yao himself, is a “pure” film in the sense that it is not an adaptation and showcases an elaborate cinematography and a keen aesthetic investment in film form (including the tinted “color” palette). The central motifs of free love across class barriers and the city–rural contrast were to have lasting repercussions in Chinese melodrama. The hyperbolic poetic gestures, physicality of the rugged seaside setting (or at the “end of the world” [haijiao], as the Chinese title suggests), and mostly histrionic rather than realist performance style in Poet from the Sea render the film a more salient vehicle for the “melodramatic imagination” geared toward a compounded formalism and emotionalism (Brooks 1976).
Like literature, theater is another art form that was used to elevate the status of film in its formative years, but by the late 1970s Chinese critics began to call for abandoning the “clutch of drama” in filmmaking. ” She adopts a triple frame – conceptual, historical, and textual – to study the irreducible presence of the theatrical in film from a figural, stylistic, and spectatorial perspective. Conceptually, she traces the distinction between cinema and theater in early Western film theory and draws on recent scholarship on intermediality.
This trend of the domestication of foreign literature quickly extended to other modern arts including cinema, especially as the Chinese film industry and narrative cinema were fast emerging and thirsty for inspirations in both content and form. Yeh’s revisit to the historical origins of wenyi is highly valuable, but, like Teo and others, she does not pause and go deeper into the cultural ecology of an emergent narrative cinema, melodrama in particular, in the context of a widespread, energetic project of cinematic translation in the 1920s.