{"product_id":"a-companion-to-chinese-cinema-isbn-9781444330298","title":"A Companion to Chinese Cinema","description":"\u003cp\u003e“This outstanding anthology offers an encyclopedic coverage of Chinese cinema from multiple angles, and will be the standard reference in Chinese cinema studies in the years to come.”\u003cbr\u003e \u003ci\u003eSheldon Lu, University of California, Davis\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003e“Like its editor, this Companion is reliable, encyclopedic, and friendly. Traveling from silent melodramas to the urban generation, from Mainland China to Hong Kong and Taiwan, we now have the docent we need.”\u003cbr\u003e \u003ci\u003eDudley Andrew, Yale University\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003e“This stunning collection – a must-read for anyone interested in the complicated dynamics of Chinese cinema past and present – features state-of-the-art research by highly respected veteran scholars and brilliant newcomers.”\u003cbr\u003e \u003ci\u003ePaul G. Pickowicz, University of California, San Diego\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003e\u003ci\u003eA Companion to Chinese Cinema\u003c\/i\u003e features a collection of original readings that offer a comprehensive overview of the evolution and current state of Chinese cinema. Essays consider Chinese cinema from a variety of historical and geopolitical centers – Shanghai, Hong Kong, and Taiwan – and offer a critical examination of major accomplishments of Chinese film studies in various categories: film history and geography, industry and institution, media and arts, genre and representation, and issues and debates. \u003c\/p\u003e\u003cp\u003eThis collaborative project brings together specialists across a range of disciplines to consider Chinese cinema from a variety of methodological approaches and theoretical frameworks. This interdisciplinary approach allows for an unprecedented breadth of innovative ideas that facilitate a better understanding of Chinese cinema as it relates to artistic projects, social practices, political institutions, and expanding international markets.\u003ci\u003e A Companion to Chinese Cinema \u003c\/i\u003eoffers an important analysis of a growing force in international cinema. \u003c\/p\u003e\u003cp\u003eAcknowledgments viii\u003c\/p\u003e \u003cp\u003eList of Figures ix\u003c\/p\u003e \u003cp\u003eList of Tables xiii\u003c\/p\u003e \u003cp\u003eList of Contributors xiv\u003c\/p\u003e \u003cp\u003e1 General Introduction 1\u003cb\u003e\u003cbr\u003e \u003c\/b\u003e\u003ci\u003eYingjin Zhang\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart I History and Geography 23\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e2 Transplanting Melodrama: Observations on the Emergence of Early Chinese Narrative Film 25\u003cbr\u003e \u003ci\u003eZhang Zhen\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e3 Artists, Cadres, and Audiences: Chinese Socialist Cinema, 1949–1978 42\u003cbr\u003e \u003ci\u003ePaul Clark\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e4 Directors, Aesthetics, Genres: Chinese Postsocialist Cinema, 1979–2010 57\u003cbr\u003e \u003ci\u003eYingjin Zhang\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e5 Hong Kong Cinema Before 1980 75\u003cbr\u003e \u003ci\u003eRobert Chi\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e6 The Hong Kong New Wave 95\u003cbr\u003e \u003ci\u003eGina Marchetti \u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e7 Gender Negotiation in Song Cunshou’s Story of Mother and Taiwan Cinema of the Early 1970s 118\u003ci\u003e\u003cbr\u003e James Wicks\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e8 Second Coming: The Legacy of Taiwan New Cinema 133\u003cbr\u003e \u003ci\u003eDarrell William Davis Copyrighted Material\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart II Industry and Institution 151\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e9 Propaganda and Censorship in Chinese Cinema 153\u003cbr\u003e \u003ci\u003eMatthew D. Johnson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e10 Chinese Media Capital in Global Context 179\u003cbr\u003e \u003ci\u003eMichael Curtin\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e11 Film and Society in China: The Logic of the Market 197\u003cbr\u003e \u003ci\u003eStanley Rosen\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e12 Vulnerable Chinese Stars: From Xizi to Film Worker 218\u003cbr\u003e \u003ci\u003eSabrina Qiong Yu\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e13 Ports of Entry: Mapping Chinese Cinema’s Multiple Trajectories at International Film Festivals 239\u003cbr\u003e \u003ci\u003eNikki J. Y. Lee and Julian Stringer\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart III Genre and Representation 263\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e14 In Search of Chinese Film Style(s) and Technique(s) 265\u003cbr\u003e \u003ci\u003eJames Udden\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e15 Film Genre and Chinese Cinema: A Discourse of Film and Nation 284\u003cbr\u003e \u003ci\u003eStephen Teo\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e16 Performing Documentation: Wu Wenguang and the Performative Turn of New Chinese Documentary 299\u003cbr\u003e \u003ci\u003eQi Wang\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e17 Chinese Women’s Cinema 318\u003cbr\u003e \u003ci\u003eLingzhen Wang\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e18 From Urban Films to Urban Cinema: The Emergence of a Critical Concept 346\u003cbr\u003e \u003ci\u003eYomi Braester\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart IV Arts and Media 359\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e19 The Intertwinement of Chinese Film and Literature: Choices and Strategies in Adaptations 361\u003cbr\u003e \u003ci\u003eLiyan Qin\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e20 Diary of a Homecoming: (Dis-)Inhabiting the Theatrical in Postwar Shanghai Cinema 377\u003cbr\u003e \u003ci\u003eWeihong Bao\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e21 Cinema and the Visual Arts of China 400\u003cbr\u003e \u003ci\u003eJerome Silbergeld\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e22 From Mountain Songs to Silvery Moonlight: Some Notes on Music in Chinese Cinema 417\u003cbr\u003e \u003ci\u003eJerome Silbergeld\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e23 Cross-Fertilization in Chinese Cinema and Television: A Strategic Turn in Cultural Policy 429\u003cbr\u003e \u003ci\u003eYing Zhu and Bruce Robinson\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e24 Chinese Cinema and Technology 449\u003cbr\u003e \u003ci\u003eGary G. Xu\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e\u003cb\u003ePart V Issues and Debates 467\u003c\/b\u003e\u003c\/p\u003e \u003cp\u003e25 Chinese Film Scholarship in Chinese 469\u003cbr\u003e \u003ci\u003eChen Xihe\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e26 Chinese Film Scholarship in English 484\u003cbr\u003e \u003ci\u003eChris Berry\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e27 The Return of the Repressed: Masculinity and Sexuality Reconsidered 499\u003cbr\u003e \u003ci\u003eShuqin Cui\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e28 Homosexuality and Queer Aesthetics 518\u003cbr\u003e \u003ci\u003eHelen Hok-Sze Leung\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e29 Alter-centering Chinese Cinema: The Diasporic Formation 535\u003cbr\u003e \u003ci\u003eYiman Wang\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e30 The Absent American: Figuring the United States in Chinese Cinema of the Reform Era 552\u003cbr\u003e \u003ci\u003eMichael Berry\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003eBibliography 575\u003c\/p\u003e \u003cp\u003eFilmography 628\u003c\/p\u003e \u003cp\u003eIndex 655\u003c\/p\u003e  \u003cp\u003e\u003cb\u003eYingjin Zhang\u003c\/b\u003e is Professor of Comparative Literature and Cultural Studies at University of California, San Diego, and Visiting Chair Professor at Shanghai Jiaotong University, China. He is the author of \u003ci\u003eThe City in Modern Chinese Literature and Film\u003c\/i\u003e (1996), \u003ci\u003eScreening China\u003c\/i\u003e (2002), \u003ci\u003eChinese National Cinema\u003c\/i\u003e (2004), and \u003ci\u003eCinema, Space, and Polylocality in a Globalizing China\u003c\/i\u003e (2010); co-author of \u003ci\u003eEncyclopedia of Chinese Film\u003c\/i\u003e (1998); editor of \u003ci\u003eChina in a Polycentric World\u003c\/i\u003e (1998) and \u003ci\u003eCinema and Urban Culture in Shanghai, 1922-1943\u003c\/i\u003e (1999); and co-editor of \u003ci\u003eFrom Underground to Independent\u003c\/i\u003e (2006) and \u003ci\u003eChinese Film Stars\u003c\/i\u003e (2010).    \u003c\/p\u003e\u003cp\u003e“This outstanding anthology offers an encyclopedic coverage of Chinese cinema from multiple angles, and will be the standard reference in Chinese cinema studies in the years to come.”\u003cbr\u003e \u003ci\u003eSheldon Lu, University of California, Davis\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003e“Like its editor, this Companion is reliable, encyclopedic, and friendly. Traveling from silent melodramas to the urban generation, from Mainland China to Hong Kong and Taiwan, we now have the docent we need.”\u003cbr\u003e \u003ci\u003eDudley Andrew, Yale University\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003e“This stunning collection – a must-read for anyone interested in the complicated dynamics of Chinese cinema past and present – features state-of-the-art research by highly respected veteran scholars and brilliant newcomers.”\u003cbr\u003e \u003ci\u003ePaul G. Pickowicz, University of California, San Diego\u003c\/i\u003e \u003c\/p\u003e\u003cp\u003e\u003ci\u003eA Companion to Chinese Cinema\u003c\/i\u003e features a collection of original readings that offer a comprehensive overview of the evolution and current state of Chinese cinema. Essays consider Chinese cinema from a variety of historical and geopolitical centers – Shanghai, Hong Kong, and Taiwan – and offer a critical examination of major accomplishments of Chinese film studies in various categories: film history and geography, industry and institution, media and arts, genre and representation, and issues and debates. \u003c\/p\u003e\u003cp\u003eThis collaborative project brings together specialists across a range of disciplines to consider Chinese cinema from a variety of methodological approaches and theoretical frameworks. This interdisciplinary approach allows for an unprecedented breadth of innovative ideas that facilitate a better understanding of Chinese cinema as it relates to artistic projects, social practices, political institutions, and expanding international markets.\u003ci\u003e A Companion to Chinese Cinema \u003c\/i\u003eoffers an important analysis of a growing force in international cinema.    “This outstanding anthology offers an encyclopedic coverage of Chinese cinema form multiple angles, and will be the standard reference in Chinese cinema studies in the years to come.” \u003cbr\u003e - \u003ci\u003eSheldon Lu, University of California, Davis\u003c\/i\u003e\u003cbr\u003e \u003cbr\u003e   \u003c\/p\u003e\u003cp\u003e“Like its editor, this Companion is reliable, encyclopedic, and friendly. Traveling from silent melodramas to the urban generation, from Mainland China to Hong Kong and Taiwan, we now have the docent we need.”\u003cbr\u003e - \u003ci\u003eDudley Andrew, Yale University\u003c\/i\u003e\u003c\/p\u003e \u003cp\u003e“This stunning collection—a must-read for anyone interested in the complicated dynamics of Chinese cinema past and present—features state-of-the-art research by highly respected veteran scholars and brilliant newcomers.”\u003cbr\u003e - \u003ci\u003ePaul G. Pickowicz, University of California, San Diego\u003c\/i\u003e\u003c\/p\u003e","brand":"Wiley-Blackwell","offers":[{"title":"Default Title","offer_id":47988603879653,"sku":"NP9781444330298","price":63.95,"currency_code":"USD","in_stock":false}],"thumbnail_url":"\/\/cdn.shopify.com\/s\/files\/1\/1842\/7735\/files\/9781444330298.jpg?v=1761780935","url":"https:\/\/k12savings.com\/products\/a-companion-to-chinese-cinema-isbn-9781444330298","provider":"K12savings","version":"1.0","type":"link"}