Transnational Chinese Cinemas
Identity, Nationhood, Gender
Publication Year: 1997
Published by: University of Hawai'i Press
Title Page, Copyright, Dedication
List of Illustrations
The idea of a volume of critical essays on Chinese film originated from the conference “Rethinking Cross-Cultural Analysis and Chinese Cinema Studies” that I organized at the University of Pittsburgh in 1994. The participation of film scholars from all over the country as well as the presence of colleagues and...
Historical Introduction: Chinese Cinemas (1896 - 1996) and Transnational Film Studies
This volume of essays is a collective rethinking of the national/transnational interface in Chinese film history and in film studies and cultural studies at large. The contributors come from the various disciplines of Chinese history, Chinese...
Chapter 1·Anti-Imperialism and Film Censorship During the Nanjing Decade, 1927–1937
Beginning in the late nineteenth century, Chinese revolutionaries faced two tasks simultaneously: externally, they wanted to free China from the grips of the imperialist powers; internally, they sought to fundamentally reform Chinese society so that China could embark on the path to modernity. The anti-imperialism
On the eve of the Great Proletarian Cultural Revolution in 1964, Xie Jin brought to the screen a story about the changing lives of women in twentieth- century China set against the backdrop of the Shaoxing opera world. Although...
Chapter 3·From “Minority Film” to “Minority Discourse”: Questions of Nationhood and Ethnicity in Chinese Cinema
In recent years, cultural critics have returned to the relationship between nationhood and ethnicity with a renewed sense of urgency if not anxiety. This has been, in part, to criticize the established paradigms and...
In the burgeoning field of cultural studies in China in the 1990s, Zhang Yimou’s film art has been the focal point of much critical discussion.1 The international popularity of Zhang’s films conveniently thematizes a set of interrelated...
One of the most crucial factors that binds a group of people into a “nation” is “the possession in common of a rich legacy of memories,” 1 a shared heritage which, through repetition, creates and reinforces a sense of historical continuity...
Chapter 6·The Diaspora in Postmodern Taiwan and Hong Kong Film: Framing Stan Lai’s The Peach Blossom Land with Allen Fong’s Ah Ying
Born in the United States but educated in Taiwan after the age of twelve, Taiwan “mainlander” Chinese director Stan Lai (Lai Shengchuan) might be better described as an American Asian than an Asian American. Already noticed by...
Ang Lee’s films are powerful evocations of cultural preservation as well as intercultural (mis)communication. Lee’s work illustrates the inevitable conflicts and negotiations between individuals bound by familial and societal obligations...
Hong Kong cinema poses a number of interesting problems for film scholars. A comprehensive film history remains to be written, and the work that has been done by Hong Kong film critics and historians has yet to be translated...
In early 1996, as Hong Kong’s 1997 reversion to the control of Mainland China loomed ever closer, the precise mechanism and meaning of this transition remained maddeningly indistinct. Hong Kong citizens, political interests, and business...
Chapter 10·Reading Formations and Chen Kaige’s Farewell My Concubine
Edward Said was prescient in pointing out the importance of theories circulating from one culture to another. In an essay titled “Traveling Theory” in The World, the Text, and the Critic, Said wrote:
When the silent film The New Woman (Xin nüxing) opened in Shanghai during the lunar new year festival of 1935, one newspaper reviewer applauded “the number of films with ‘the woman question’ as their subject over the past few...
Since its release in 1990, Zhang Yimou’s Ju Dou has drawn intense interest from film critics, academic scholars, and general audiences. Reading Ju Dou against the difficulties and errors that often occur in cross-cultural interpretations of non-Western texts..
Chapter 13·The Concubine and the Figure of History Chen Kaige’s Farewell My Concubine
Yuejin Wang has pointed out an ironic cross-cultural situation: it is precisely the films of the Fifth-Generation directors, films that posit a “cultural identity that the current Chinese public are reluctant to identify, and which they keep at arm’s length” that have received acclaim abroad as a “cinematic representation...
Chapter 14· Narrative Images of the Historical Passion: Those Other Women—On the Alterity in the New Wave of Chinese Cinema
The self-conscious New Wave of Chinese cinema begins with a resituation of what C. T. Hsia, in his study of modern Chinese literature,1 calls the modern Chinese “obsession with China,” an obsession recurrent in modern Chinese literary, social, and political thought, which begins with that traumatic moment...
Notes on Contributors
Publication Year: 1997
OCLC Number: 532692692
MUSE Marc Record: Download for Transnational Chinese Cinemas