یک همدم به سینمای چین A Companion to Chinese Cinema

A Companion to Chinese Cinema is a collection of original essays written by experts in a range of disciplines that provide a comprehensive overview of the evolution and current state of Chinese cinema. Represents the most comprehensive coverage of Chinese cinema to dateApplies a multidisciplinary approach that maps the expanding field of Chinese cinema in bold and definitive waysDraws attention to previously neglected areas such as diasporic filmmaking, independent documentary, film styles and techniques, queer aesthetics, star studies, film and other arts or mediaFeatures several chapters that explore China’s new market economy, government policy, and industry practice, placing the intricate relationship between film and politics in a historical and international contextIncludes overviews of Chinese film studies in Chinese and English publications Content: Chapter 1 General Introduction (pages 1–22): Yingjin ZhangChapter 2 Transplanting Melodrama (pages 23–41): Zhang ZhenChapter 3 Artists, Cadres, and Audiences (pages 42–56): Paul ClarkChapter 4 Directors, Aesthetics, Genres (pages 57–74): Yingjin ZhangChapter 5 Hong Kong Cinema Before 1980 (pages 75–94): Robert ChiChapter 6 The Hong Kong New Wave (pages 95–117): Gina MarchettiChapter 7 Gender Negotiation in Song Cunshou's Story of Mother and Taiwan Cinema of the Early 1970s (pages 118–132): James WicksChapter 8 Second Coming (pages 133–150): Darrell William DavisChapter 9 Propaganda and Censorship in Chinese Cinema (pages 151–178): Matthew D. JohnsonChapter 10 Chinese Media Capital in Global Context (pages 179–196): Michael CurtinChapter 11 Film and Society in China (pages 197–217): Stanley RosenChapter 12 Vulnerable Chinese Stars (pages 218–238): Sabrina Qiong YuChapter 13 Ports of Entry (pages 239–261): Nikki J. Y. Lee and Julian StringerChapter 14 In Search of Chinese Film Style(s) and Technique(s) (pages 263–283): James UddenChapter 15 Film Genre and Chinese Cinema (pages 284–298): Stephen TeoChapter 16 Performing Documentation (pages 299–317): Qi WangChapter 17 Chinese Women's Cinema (pages 318–345): Lingzhen WangChapter 18 From Urban Films to Urban Cinema (pages 346–358): Yomi BraesterChapter 19 The Intertwinement of Chinese Film and Literature (pages 359–376): Liyan QinChapter 20 Diary of a Homecoming: (Dis?)Inhabiting the Theatrical in Postwar Shanghai Cinema (pages 377–399): Weihong BaoChapter 21 Cinema and the Visual Arts of China (pages 400–416): Jerome SilbergeldChapter 22 From Mountain Songs to Silvery Moonlight (pages 417–428): Jerome SilbergeldChapter 23 Cross?Fertilization in Chinese Cinema and Television (pages 429–448): Ying Zhu and Bruce RobinsonChapter 24 Chinese Cinema and Technology (pages 449–465): Gary G. XuChapter 25 Chinese Film Scholarship in Chinese (pages 467–483): Chen XiheChapter 26 Chinese Film Scholarship in English (pages 484–498): Chris BerryChapter 27 The Return of the Repressed (pages 499–517): Shuqin CuiChapter 28 Homosexuality and Queer Aesthetics (pages 518–534): Helen Hok?Sze LeungChapter 29 Alter?centering Chinese Cinema (pages 535–551): Yiman WangChapter 30 The Absent American: Figuring the United States in Chinese Cinema of the Reform Era (pages 552–574): Michael Berry