What does it mean to be "Chinese?" This controversial question has sparked off a never-ending process of image-making in Chinese and Chinese-speaking communities throughout the twentieth century. This introduction to Chinese national cinema, written by a leading scholar, covers three "Chinas": mainland China, Hong Kong and Taiwan. It traces the formation, negotiation and proble...(展开全部)

A Companion to Chinese Cinema features a collection of original readings that offer a comprehensive overview of the evolution and current state of Chinese cinema. Essays consider Chinese cinema from a variety of historical and geo-political centers—Shanghai, Hong Kong, and Taiwan—and offer a critical examination of major accomplishments of Chinese film studies in various catego...(展开全部)

A Companion to Chinese Cinema features a collection of original readings that offer a comprehensive overview of the evolution and current state of Chinese cinema. Essays consider Chinese cinema from a variety of historical and geo-political centers—Shanghai, Hong Kong, and Taiwan—and offer a critical examination of major accomplishments of Chinese film studies in various catego...(展开全部)

In Cinema Approaching Reality, Victor Fan brings together, for the first time, Chinese and Euro-American film theories and theorists to engage in critical debates about film in Shanghai and Hong Kong from the 1920s through the 1940s. His point of departure is a term popularly employed by Chinese film critics during this period, bizhen, often translated as “lifelike” but best un...(展开全部)

In Cinema Approaching Reality, Victor Fan brings together, for the first time, Chinese and Euro-American film theories and theorists to engage in critical debates about film in Shanghai and Hong Kong from the 1920s through the 1940s. His point of departure is a term popularly employed by Chinese film critics during this period, bizhen, often translated as “lifelike” but best un...(展开全部)

In Cinema Approaching Reality, Victor Fan brings together, for the first time, Chinese and Euro-American film theories and theorists to engage in critical debates about film in Shanghai and Hong Kong from the 1920s through 1940s. His point of departure is a term popularly employed by Chinese film critics during this period, bizhen, often translated as “lifelike” but best unders...(展开全部)

This revised and updated new edition provides a comprehensive introduction to the history of cinema in Chinese mainland, Hong Kong and Ta iwan, 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 movemen...(展开全部)

What role did cinema play in the Chinese Communist Party’s political project of shaping ideal socialist citizens in the early People’s Republic? In Moulding the Socialist Subject, Xiaoning Lu deploys case studies from popular film genres, movie star culture and rural film exhibition practices to argue that Chinese cinema in 1949–1966, at once an important political instrument, ...(展开全部)