In this Book

Adapted for the Screen
summary
Contemporary Chinese films are popular with audiences worldwide, but a key reason for their success has gone unnoticed: many of the films are adapted from brilliant literary works. This book is the first to put these landmark films in the context of their literary origins and explore how the best Chinese directors adapt fictional narratives and styles for film. Contemporary Chinese films are popular with audiences worldwide, but a key reason for their success has gone unnoticed: many of the films are adapted from brilliant literary works. This book is the first to put these landmark films in the context of their literary origins and explore how the best Chinese directors adapt fictional narratives and styles for film. With her sophisticated blend of stylistic and historical analyses, Deppman brings much-needed nuance to current conversations about the politics of gender, class, and race in the work of the most celebrated Chinese writers and directors. Her pioneering study will appeal to all readers, general and academic, who have an interest in Chinese literature, cinema, and culture.

Table of Contents

  1. Cover
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  1. Frontmatter
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  1. Contents
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  1. Acknowledgments
  2. pp. vii-viii
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  1. Introduction
  2. pp. 1-10
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  1. Chapter 1 Wang Dulu and Ang Lee: Artistic Creativity and Sexual Freedom in Crouching Tiger, Hidden Dragon
  2. pp. 11-33
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  1. Chapter 2 Su Tong and Zhang Yimou: Women's Places in Raise the Red Lantern
  2. pp. 34-60
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  1. Chapter 3 Eileen Chang and Stanley Kwan: Politics and Love in Red Rose (and) White Rose
  2. pp. 61-97
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  1. Chapter 4 Liu Yichang and Wong Kar-wai: The Class Trap in In the Mood for Love
  2. pp. 98-122
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  1. Chapter 5 Dai Sijie: Locating the Third Culture in Balzac and the Little Chinese Seamstress
  2. pp. 123-148
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  1. Chapter 6 Hou Xiaoxian and Zhu Tianwen: Politics and Poetics in A Time to Live, A Time to Die
  2. pp. 149-173
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  1. Chapter 7 Chen Yuhui and Chen Guofu: Envisioning Democracy in The Personals
  2. pp. 174-192
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  1. Conclusion
  2. pp. 193-195
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  1. Notes
  2. pp. 197-213
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  1. Bibliography
  2. pp. 215-229
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  1. Selected Filmography
  2. pp. 231-233
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  1. Index
  2. pp. 235-243
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