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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
[UNTITLED]
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- Library of Congress Cataloging-in-Publication Data
- The Oxford handbook of Chinese cinemas / edited by Carlos Rojas and Eileen Chow.
- p. cm. — (Oxford handbooks)
- Includes bibliographical references and index.
- ISBN 978–0–19–976560–7
- 1. Motion pictures—China. 2. Motion pictures—Taiwan. 3. Motion pictures—Hong Kong.
- I. Rojas, Carlos, 1970- II. Chow, Eileen Cheng-yin.
- PN1993.5.C4O94 2013
- 791.430951—dc
- 232012038351
- ISBN 978–0–19–976560–7
- 1 3 5 7 9 8 6 4 2
- Printed in the United States of America
- on acid-free paper
- [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
