Read more
Zusatztext Comprehensive, authoritative and a great read. Informationen zum Autor Song Hwee Lim is Professor in the Department of Cultural and Religious Studies at The Chinese University of Hong Kong. He is the author of Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas (2006), co-editor of Remapping World Cinema: Identity, Culture and Politics in Film (2006), and founding editor of the Journal of Chinese Cinemas. Julian Ward is Senior Lecturer in Chinese Studies at the University of Edinburgh, UK. He is Associate Editor of the Journal of Chinese Cinemas. Klappentext This revised and updated new edition provides a comprehensive introduction to the history of cinema in mainland China, Hong Kong and Taiwan, as well as to disaporic and transnational Chinese film-making, from the beginnings of cinema to the present day. Chapters by leading international scholars are grouped in thematic sections addressing key historical periods, film movements, genres, stars and auteurs, and the industrial and technological contexts of cinema in Greater China.A revised and expanded edition of a comprehensive introduction to the cinemas of mainland China, Hong Kong and Taiwan. Zusammenfassung This revised and updated new edition provides a comprehensive introduction to the history of cinema in mainland China! Hong Kong and Taiwan! as well as to disaporic and transnational Chinese film-making! from the beginnings of cinema to the present day. Chapters by leading international scholars are grouped in thematic sections addressing key historical periods! film movements! genres! stars and auteurs! and the industrial and technological contexts of cinema in Greater China. Inhaltsverzeichnis Introduction“The Coming of Age of Chinese Cinemas Studies” Song Hwee Lim, Chinese University of Hong Kong, China, and Julian Ward, University of Edinburgh, UK Preface to Revised Edition Song Hwee Lim, Chinese University of Hong Kong, China, and Julian Ward, University of Edinburgh, UK Section I: Territories, Trajectories, Historiographies Chapter 1, “Transnational Chinese Film Studies”Chris Berry, King’s College London, UK Chapter 2, “National Cinema as Translocal Practice: reflections on Chinese LFI Historiography” Yingjin Zhang, University of California, San Diego, USAChapter 3, “Cinemas of the Chinese Diaspora” Gina Marchetti, Hong Kong University, ChinaChapter 4, “Six Chinese Cinemas in Search of a Historiography”Song Hwee LimSection II: Early Cinema to 1949 Chapter 5, “ Shadow Magic and the Lost Decades in Chinese Film History”Zhiwei Xiao, California State University, San Marcos, and Xuelei Huang, University of Edinburgh, UKChapter 6, “The Making of a National Cinema: Shanghai Cinema of the 1930s”Laikwan Pang, The Chinese University of Hong Kong, ChinaChapter 7, “Wartime Cinema: Reconfiguration and Border Navigation”Yiman Wang, University of California, Santa Cruz, USAChapter 8, “Chinese Filmmaking on the eve of the Communist Revolution”Paul Pickowicz, University of California, San Diego, USASection III: The Forgotten Period – 1949-1980 Chapter 9, “The Remodelling of a National Cinema: Chinese film of the Seventeen Years (1949-1966)”Julian Ward, University of Edinburgh, UKChapter 10, “Liminal Cinema: PRC Film Genres of the New Era”Michael Berry, University of California, Los Angeles, USAChapter 11, “Healthy Realism in Taiwan, 1964-1980: Film Style, Cultural Policies and Mandarin Cinema”Guo-Juin Hong, Duke University, USAChapter 12, “The Hong Kong Cantonese Cinema: Emergence, Development and Decline”Stephen Teo, Nanyang Technological University, SingaporeSection IV: The New Waves Chapter 13, “The Fifth Generation: A Re-assessment”Wendy Larson, University of Oregon, USAChapter 14, “Taiwan New Cinema Movement and Its Legacy”Tonglin Lu, University of Montreal, Ca...
