- [UNTITLED]
- Contributors
- Introduction: Chinese Cinemas and the Art of Extrapolation
- D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai
- Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty
- Fei Mu, Mei Lanfang, and the Polemics of Screening China
- A National Cinema for a Puppet State: The Manchurian Motion Picture Association
- A Genealogy of Cinephilia in the Maoist Period
- Cold War Politics and Hong Kong Mandarin Cinema
- Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema
- Taiwan New Cinema: Small Nation with Soft Power
- Chinese Cinema With Hollywood Characteristics, or How <i>The Karate Kid</i> Became a Chinese Film
- World as Picture and Ruination: On Jia Zhangke’s Still Life as World Cinema
- The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form
- A Small History of <i>Wenyi</i>
- Art, Politics, and Internationalism: Korean War Films in Chinese Cinema
- Edification Through Affection: The Cultural Revolution Films, 1974–1976
- Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity
- Desire and Distribution: Queer/Chinese/Cinema
- Thirdspace Between Flows and Places: Chinese Independent Documentary and Social Theories of Space and Locality
- From Anticorruption to Officialdom: The Transformation of Chinese Dynasty TV Drama
- New Media: Large Screens in China
- Online Small-Screen Cinema: The Cinema of Attractions and the Emancipated Spectator
- Acting Real: Cinema, Stage, and the Modernity of Performance in Chinese Silent Film
- Edward Yang and Taiwan’s Age of Auteurs
- A Marriage of Convenience: Musical Moments in Chinese Movies
- Policing Film in Early Twentieth-Century China, 1905–1923
- Between Will and Negotiation: Film Policy in the First Three Years of the People’s Republic of China
- Fetish Power Unbound: A Small History of “Woman” in Chinese Cinema
- Ethnographic Representation Across Genres The Culture Trope in Contemporary Mainland Media
- Conjuring the Masses: The Spectral/Spectacular Crowd in Chinese Film
- The Idea of Asia(nism) and Trans-Asian Productions
- Film and Contemporary Chinese Art: Mediums and Remediation
- Crossing the Same River Twice: Documentary Reenactment and the Founding of PRC Documentary Cinema
- Remade in China: Cinema with “Chinese Elements” in the Dapian Age
- Along the Riverrun: Cinematic Encounters in Tsai Ming-Liang’s The River
- Afterword (<span xml:lang="chi">尾聲</span>)
- Filmographies
- Index
Abstract and Keywords
This chapter outlines the intellectual and political agenda behind establishing the monthly Chinese Cinema in 1956. The journal followed the Hundred Flowers campaign and promoted open discussion on the shortcomings of current film policy. In particular, it challenged the dogma of art for workers, peasants, and soldiers, emphasizing instead the importance of debate. The chapter argues that the episode constituted a founding moment for Chinese cinephilia, in the sense of informed discourse rooted in a community committed to film interpretation. Understanding early PRC film culture in terms of cinephilia calls for rethinking the connection between art and politics under Mao.
Keywords: Cinephilia, film journals, Hundred Flowers campaign, intellectual debates, Mao Zedong
Yomi Braester is Professor of Comparative Literature and Cinema Studies at the University of Washington in Seattle. His publications include Witness against History: Literature, Film, and Public Discourse in Twentieth-Century China (Stanford UP, 2003), Painting the City Red: Chinese Cinema and the Urban Contract (Duke UP, 2010), and Cinema at the City’s Edge: Film and Urban Networks in East Asia (co-edited with James Tweedie; Hong Kong University Press, 2010).
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- [UNTITLED]
- Contributors
- Introduction: Chinese Cinemas and the Art of Extrapolation
- D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai
- Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty
- Fei Mu, Mei Lanfang, and the Polemics of Screening China
- A National Cinema for a Puppet State: The Manchurian Motion Picture Association
- A Genealogy of Cinephilia in the Maoist Period
- Cold War Politics and Hong Kong Mandarin Cinema
- Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema
- Taiwan New Cinema: Small Nation with Soft Power
- Chinese Cinema With Hollywood Characteristics, or How <i>The Karate Kid</i> Became a Chinese Film
- World as Picture and Ruination: On Jia Zhangke’s Still Life as World Cinema
- The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form
- A Small History of <i>Wenyi</i>
- Art, Politics, and Internationalism: Korean War Films in Chinese Cinema
- Edification Through Affection: The Cultural Revolution Films, 1974–1976
- Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity
- Desire and Distribution: Queer/Chinese/Cinema
- Thirdspace Between Flows and Places: Chinese Independent Documentary and Social Theories of Space and Locality
- From Anticorruption to Officialdom: The Transformation of Chinese Dynasty TV Drama
- New Media: Large Screens in China
- Online Small-Screen Cinema: The Cinema of Attractions and the Emancipated Spectator
- Acting Real: Cinema, Stage, and the Modernity of Performance in Chinese Silent Film
- Edward Yang and Taiwan’s Age of Auteurs
- A Marriage of Convenience: Musical Moments in Chinese Movies
- Policing Film in Early Twentieth-Century China, 1905–1923
- Between Will and Negotiation: Film Policy in the First Three Years of the People’s Republic of China
- Fetish Power Unbound: A Small History of “Woman” in Chinese Cinema
- Ethnographic Representation Across Genres The Culture Trope in Contemporary Mainland Media
- Conjuring the Masses: The Spectral/Spectacular Crowd in Chinese Film
- The Idea of Asia(nism) and Trans-Asian Productions
- Film and Contemporary Chinese Art: Mediums and Remediation
- Crossing the Same River Twice: Documentary Reenactment and the Founding of PRC Documentary Cinema
- Remade in China: Cinema with “Chinese Elements” in the Dapian Age
- Along the Riverrun: Cinematic Encounters in Tsai Ming-Liang’s The River
- Afterword (<span xml:lang="chi">尾聲</span>)
- Filmographies
- Index
