- [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
Focusing on two Korean War films, this chapter traces the development of aesthetic forms in relation to geopolitics and revolutionary ideology from the 1950s through the eve of the Cultural Revolution. Although Chinese films of the Korean War depict dramatic scenes of battlefields and intriguing strategies, they seek to offer an ideological exemplar rather than exciting stories. The war film articulates a politics of spirit and expresses Mao’s military romanticism. Against the Cold War geopolitics and the fetishism of weapons and through aesthetic, operatic elaboration, the war film holds up heroic, self-sacrificing figures of idealism for the whole society to emulate so as to empower the population. The politics of spirit also projects a cultural internationalism that aligns with third-world nations in the common struggle against imperialism.
Keywords: politics of spirit, internationalism, military romanticism, imperialism
Ban Wang is the William Haas Professor in Chinese Studies at Stanford University and the Yangtze River Professor at East China Normal University. He is currently chairperson of the Department of Asian Languages and Cultures. His major publications include The Sublime Figure of History: Aesthetics and Politics in Twentieth Century China (Stanford UP, 1997), Illuminations from the Past (Stanford UP, 2004), and History and Memory (in Chinese, Oxford UP, 2004). He co-edited Trauma and Cinema (Hong Kong UP, 2004), The Image of China in the American Classroom (Nanjing UP, 2005), China and New Left Visions (Lexington 2012), and Debating Socialist Legacy in China (forthcoming Palgrave). He edited Words and Their Stories: Essays on the Language of the Chinese Revolution (Brill, 2010). He was a research fellow with the National Endowment for the Humanities in 2000 and the Institute for Advanced Study at Princeton in 2007.
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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
