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Chinese Cinema During The Era Of Reform

Author: Ying Zhu
Publisher: Greenwood Publishing Group
ISBN: 9780275979591
Size: 73.45 MB
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Offers an insider's account of the rise and fall of Chinese cinema's art and entertainment industry, including its transition to commercialization.

Futures Of Chinese Cinema

Author: Olivia Khoo
Publisher: Intellect Books
ISBN: 184150274X
Size: 24.87 MB
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"With the burgeoning interest in Chinese film, this interdisciplinary collection investigates how new technologies, changing production constraints and shifting viewing practices have shaped perceptions of Chinese screen cultures. Futures of Chinese Cinema contains essays by international scholars considering new directions in Chinese cinema. After the devastation of the economic crisis, the uncertainty of the Hong Kong handover and the events at Tiananmen Square in 1989, the late twentieth century and beyond has seen the emergence of a number of fresh new works from the region's film-makers. For the first time, scholars from film studies, media studies, history and sociology have been brought together in their focus on the concepts of technology and temporality in these films."--P. [4] of cover.

China S Igeneration

Author: Matthew D. Johnson
Publisher: Bloomsbury Publishing USA
ISBN: 1623563127
Size: 38.14 MB
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This innovative collection of essays on twenty-first century Chinese cinema and moving image culture features contributions from an international community of scholars, critics, and practitioners. Taken together, their perspectives make a compelling case that the past decade has witnessed a radical transformation of conventional notions of cinema. Following China's accession to the WTO in 2001, personal and collective experiences of changing social conditions have added new dimensions to the increasingly diverse Sinophone media landscape, and provided a novel complement to the existing edifice of blockbusters, documentaries, and auteur culture. The numerous 'iGeneration' productions and practices examined in this volume include 3D and IMAX films, experimental documentaries, animation, visual aides-mémoires, and works of pirated pastiche. Together, they bear witness to the emergence of a new Chinese cinema characterized by digital and, trans-media representational strategies, the blurring of private/public distinctions, and dynamic reinterpretations of the very notion of 'cinema' itself.

Art Politics And Commerce In Chinese Cinema

Author: Ying Zhu
Publisher: Hong Kong University Press
ISBN: 9622091768
Size: 74.76 MB
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"Ying Zhu and Stanley Rosen have brought together some of the leading scholars and critics of Chinese cinema to rethink the political mutations, market manifestations, and artistic innovations that have punctuated a century of Chinese screen memories. From animation to documentary, history of the industry to cinematic attempts to recreate history, propaganda to piracy, the influx of Hollywood imports to Chinese-style blockbusters, Art, Politics, and Commerce in Chinese Cinema presents a fresh set of critical approaches to the field that should be required reading for scholars, students, and anyone interested in the past, present, and future of one of the most vibrant and dynamic film industries in the world."-Michael Berry, author, Jia Zhangke's "Hometown Trilogy" and A History of Pain "An excellent collection of articles that together offer a superb introduction to contemporary Chinese film studies."-Richard Pena, Program Director, Film Society of Lincoln Center "This is one of the most important, comprehensive, and profoundly important books about Chinese cinema. As correctly pointed out by the editors of the volume, understanding of the emerging film industry in China requires a systematic examination of arts, politics, and commerce of Chinese cinema. By organizing the inquiry of the Chinese film industry around its local and global market, politics, and film art, the authors place the current transformation of Chinese cinema within a large framework. The book has set a new standard for research on Chinese cinema. It is a must-read for students of arts, culture, and politics in China."-Tianjian Shi, Duke University Art politics, and commerce are intertwined everywhere, but in China the interplay is explicit, intimate, and elemental, and nowhere more so than in the film industry. Understanding this interplay in the era of market reform and globalization is essential to understanding mainland Chinese cinema. This interdisciplinary book provides a comprehensive reappraisal of Chinese cinema, surveying the evolution of film production and consumption in mainland China as a product of shifting relations between art, politics, and commerce. Within these arenas, each of the twelve chapters treats a particular history, development, genre, filmmaker or generation of filmmakers, adding up to a distinctively comprehensive rendering of Chinese cinema. The book illuminates China's changing stat-society relations, the trajectory of marketization and globalization, the effects of China's start historical shifts, Hollywood's role, the role of nationalism, and related themes of interest to scholars of Asian studies, cinema and media studies, political science, sociology comparative literature and Chinese language. Ying Zhu is professor of cinema studies in the Department of Media Culture and co-coordinator of the Modern China Studies Program at the City University of New York, College of Staten Island. Stanley Rosen is director of the East Asian Studies Center and a professor of political science at the University of Southern California.

Sentimental Fabulations Contemporary Chinese Films

Author: Rey Chow
Publisher: Columbia University Press
ISBN: 0231508190
Size: 44.28 MB
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What is the sentimental? How can we understand it by way of the visual and narrative modes of signification specific to cinema and through the manners of social interaction and collective imagining specific to a particular culture in transition? What can the sentimental tell us about the precarious foundations of human coexistence in this age of globalization? Rey Chow explores these questions through nine contemporary Chinese directors (Chen Kaige, Wong Kar-wai, Zhang Yimou, Ann Hui, Peter Chan, Wayne Wang, Ang Lee, Li Yang, and Tsai Ming-liang) whose accomplishments have become historic events in world cinema. Approaching their works from multiple perspectives, including the question of origins, nostalgia, the everyday, feminine "psychic interiority," commodification, biopolitics, migration, education, homosexuality, kinship, and incest, and concluding with an account of the Chinese films' epistemic affinity with the Hollywood blockbuster Brokeback Mountain, Chow proposes that the sentimental is a discursive constellation traversing affect, time, identity, and social mores, a constellation whose contours tends to morph under different historical circumstances and in different genres and media. In contemporary Chinese films, she argues, the sentimental consistently takes the form not of revolution but of compromise, not of radical departure but of moderation, endurance, and accommodation. By naming these films sentimental fabulations screen artifacts of cultural becoming with irreducible aesthetic, conceptual, and speculative logics of their own Chow presents Chinese cinema first and foremost as an invitation to the pleasures and challenges of critical thinking.

Television In Post Reform China

Author: Ying Zhu
Publisher: Routledge
ISBN: 1134094604
Size: 59.60 MB
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This book explores the political, economic, and cultural forces, locally and globally that have shaped the evolution of Chinese primetime television dramas, and the way that these dramas in turn have actively engaged in the major intellectual and policy debates concerning the path, steps, and speed of China’s economic and political modernization during the post-Deng Xiaoping era. It intertwines the evolution of Chinese television drama particularly with the ascendance of the Chinese New Left that favors a recentralization of state authority and an alternative path towards China’s modernization and China’s current administration’s call for building a "harmonious society." Two types of serial drama are highlighted in this regard, the politically provocative dynasty drama and the culturally ambiguous domestic drama. The book also provides cross-cultural comparisons that parallel the textual and institutional strategies of transnational Chinese language TV dramas with dramas from the three leading centers of transnational television production, the US, Brazil and Mexico in Latin America, and the Korean-led East Asia region. The comparison reveals creative connections while it also explores how the emergence of a Chinese cultural-linguistic market, together with other cultural-linguistic markets, complicates the power dynamics of global cultural flows.

Dekalog 4

Author: Kate E. Taylor-Jones
Publisher: Columbia University Press
ISBN: 0231501749
Size: 51.18 MB
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East Asian cinema has become a worldwide phenonemon, and directors such as Park Chan-wook, Wong Kar Wai, and Takashi Miike have become household names. Dekalog 4: On East Asian Filmmakers solicits scholars from Japan, Hong Kong, Switzerland, North America, and the U.K. to offer unique readings of selected East Asian directors and their works. Directors examined include Zhang Yimou, Apichatpong Weerasethakul, Rithy Panh, Kinji Fukasaku, and Jia Zhangke, and the volume includes one of the first surveys of Japanese and Chinese female filmmakers, providing singular insight into East Asian film and the filmmakers that have brought it global recognition.

Out Of Asia

Author: Bert Cardullo
Publisher: Cambridge Scholars Publishing
Size: 60.32 MB
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Out of Asia: The Films of Akira Kurosawa, Satyajit Ray, Abbas Kiarostami, and Zhang Yimou is a collection of interviews with, and essays about, the four filmmakers who introduced the cinema of their respective countries to the West: Kurosawa (Japan) and Ray (India), in the 1950s; Kiarostami (Iran) and Zhang (China), in the 1980s. Kurosawa and Ray were post-World War II phenomena, as the new breed of American cinephiles demanded more contact with Asian cultures of which they had known little until the 1940s. Kiarostami and Zhang, for their part, are both post-revolutionary filmmakers whose films have helpfully introduced Americans to two Eastern cultures with which the American government has long had and continues to have a problematic relationship. As a whole, then, Out of Asia documents an alternative to Western brands of cinema even as these four "foreign" directors, with the possible exception of Kiarostami, integrate Western forms, styles, and genres into their own native traditions. As such, these artists could be said to represent a global filmmaking perspective that now, more than ever, this world and the American nation can use. Each of the interviews in this volume is accompanied by an overview of the director's career or an essay on representative films by him. In addition, Out of Asia is preceded by a contextualizing introduction; it is followed by filmographies, a bibliography, and an index; and the book is interspersed with photographs of the four directors in question or stills from their films. There are books devoted to individual filmmakers like Kurosawa, Ray, Kiarostami, and Zhang, but, until Out of Asia, there has not been one that treats representatives of four national cinemas from their own point of view, as well as from an international perspective.