The Oxford handbook of Chinese cinemas / edited by Carlos Rojas and Eileen Chow.

Format
Book
Language
English
Εdition
1st ed.
Published/​Created
New York : Oxford University Press, 2013.
Description
1 online resource (xvii, 709 pages) : illustrations.

Details

Subject(s)
Editor
Library of Congress genre(s)
Series
Oxford handbooks of literature. [More in this series]
Summary note
What does it mean for a cinematic work to be 'Chinese'? Does it refer specifically to a work's subject, or does it also reflect considerations of language, ethnicity, nationality, ideology, or political orientation? Such questions make any single approach to a vast field like 'Chinese cinema' difficult at best. Accordingly, The Oxford Handbook of Chinese Cinemas situates the term more broadly among various different phases, genres, and distinct national configurations.
Notes
Bibliographic Level Mode of Issuance: Monograph
Bibliographic references
Includes bibliographical references and index.
Source of description
Description based on print version record.
Language note
English
Contents
  • Cover
  • Contents
  • Descriptive Table of Contents
  • Contributors
  • Introduction: Chinese Cinemas and the Art of Extrapolation
  • PART I: HISTORY
  • 1. D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai
  • 2. Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty
  • 3. Fei Mu, Mei Lanfang, and the Polemics of Screening China
  • 4. A National Cinema for a Puppet State: The Manchurian Motion Picture Association
  • 5. A Genealogy of Cinephilia in the Maoist Period
  • 6. Cold War Politics and Hong Kong Mandarin Cinema
  • 7. Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema
  • 8. Taiwan New Cinema: Small Nation with Soft Power
  • 9. Chinese Cinema with Hollywood Characteristics, or How The Karate Kid Became a Chinese Film
  • 10. World as Picture and Ruination: On Jia Zhangke's Still Life as World Cinema
  • PART II: FORM
  • 11. The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form
  • 12. A Small History of Wenyi
  • 13. Art, Politics, and Internationalism: Korean War Films in Chinese Cinema
  • 14. Edification through Affection: The Cultural Revolution Films, 1974-1976
  • 15. Reforming Vengeance: Kung Fu and the Racial Melancholia of Chinese Masculinity
  • 16. Desire and Distribution: Queer/Chinese/Cinema
  • 17. Thirdspace between Flows and Places: Chinese Independent Documentary and Social Theories of Space and Locality
  • 18. From Anticorruption to Officialdom: The Transformation of Chinese Dynasty TV Drama
  • 19. New Media: Large Screens in China
  • 20. Online Small-Screen Cinema: The Cinema of Attractions and the Emancipated Spectator
  • PART III: STRUCTURE
  • 21. Acting Real: Cinema, Stage, and the Modernity of Performance in Chinese Silent Film
  • 22. Edward Yang and Taiwan's Age of Auteurs
  • 23. A Marriage of Convenience: Musical Moments in Chinese Movies.
  • 24. Policing Film in Early Twentieth-Century China, 1905-1923
  • 25. Between Will and Negotiation: Film Policy in the First Three Years of the People's Republic of China
  • 26. Fetish Power Unbound: A Small History of "Woman" in Chinese Cinema
  • 27. Ethnographic Representation across Genres: The Culture Trope in Contemporary Mainland Media
  • 28. Conjuring the Masses: The Spectral/Spectacular Crowd in Chinese Film
  • 29. The Idea of Asia(nism) and Trans-Asian Productions
  • 30. Film and Contemporary Chinese Art: Mediums and Remediation
  • 31. Crossing the Same River Twice: Documentary Reenactment and the Founding of PRC Documentary Cinema
  • 32. Remade in China: Cinema with "Chinese Elements" in the Dapian Age
  • 33. Along the Riverrun: Cinematic Encounters in Tsai Ming-liang's The River
  • Afterword (omitted): Chinese Cinema as Monkey's Tail
  • Filmographies
  • Index.
Other title(s)
  • Handbook of Chinese cinemas
  • Chinese cinemas
ISBN
  • 9780199983315
  • 0199983313
  • 9780199988440
  • 0199988447
OCLC
866950227
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