Island on the Edge: Taiwan New Cinema and After (Hardback): Taiwan New Cinema and After

Contributors

Chris BERRY is Professor of Film and Television Studies at Goldsmiths College, University of London. He has written widely on Chinese cinema, and is the translator of Feii Lu’s Taiwan Cinema: Politics, Economics, Aesthetics. He is author of Postsocialist Cinema in Post-Mao China (Routledge), editor of Chinese Films in Focus: 25 New Takes (British Film Institute), co-editor of Mobile Cultures: New Media and Queer Asia (Duke University Press), and The Filmmaker and the Prostitute: Dennis O’Rourke’s “The Good Woman of Bangkok” (Sydney: The Power Institute Press), translator of Ni Zhen’s Memoirs from the Beijing Film Academy: The Origins of China’s Fifth Generation Filmmakers (Duke University Press), and co-translator of Ding Xiaoqi’s Maidenhome, (San Francisco: Aunt Lute). Nick BROWNE is Professor, Chair of the Critical Studies Committee, and Vice Chair of the Department of Film, Television and Digital Media at UCLA. He is the author of the book Contemporary Western Film Theories (Beijing: China Film Press, 1994) and co-editor of New Chinese Cinemas, Forms, Identities, Politics (New York: Cambridge University Press, 1994). A related article, “The Undoing of the Other Woman: Madame Butterfly in the Discourse of American Orientalism” was published in The Birth of Whiteness, Daniel Bernardi, ed. (New Brunswick: Rutgers University Press, 1996). Contributors viii Contributors Sung-sheng Yvonne CHANG (Ph.D., Stanford) is Professor of Chinese and Comparative Literature at the University of Texas at Austin in the Department of Asian Studies. Her analysis of the relationship between Taiwan New Cinema and contemporary Taiwanese fiction has appeared in such publications as Wenxuechangyu de bianqian: dangdai Taiwan xiaoshuo lun (Changes in the literary field: contemporary fiction from Taiwan; Taipei: Lianhe wenxue chubanshe, 2001) and Literary Culture in Taiwan (forthcoming, Columbia University Press). CHEN Kuan-Hsing coordinates the Center for Asia-Pacific Cultural Studies, National Tsing Hua University, Hsinchu, Taiwan, and is a coexecutive editor of Inter-Asia Cultural Studies: Movements. Haden GUEST is a Ph.D. candidate in Critical Studies in Film at the University of California, Los Angeles, completing his dissertation project, a study of the post-World War Two American police procedural film. He is currently working on a longer essay on the films of Tsai Mingliang. Rosemary HADDON (Ph.D., University of British Columbia) is Senior Lecturer in Chinese at Massey University, New Zealand. Her publications include the book Oxcart: Nativist Stories From Taiwan, 1934–1977 (Dortmund: Projekt Verlag, 1996) and articles on nativism and the fiction of Chinese and Taiwanese women writers. She is currently researching the fiction of Zhu Tianxin for inclusion in an edited volume of Taiwan’s bentu localist discourse. Nick KALDIS is Assistant Professor of Chinese in the Department of German, Russian, and East Asian Languages at Binghamton University (SUNY Binghamton). He has written articles on Chinese cinema and is currently completing a manuscript on Lu Xun’s Yecao. LIU Yu-hsiu is Professor of Literature and Feminist theories at Taiwan University. She is the author of The Oedipus Myth: Sophocles, Freud, Pasolini. Feii LU is a television and film writer, director, and producer as well as Associate Professor and Chairman of the Department of Radio/TV at National Chengchi University in Taiwan. He is the author of the prizewinning book Taiwan Cinema: Politics, Economics, Aesthetics, 1949–1994. Contributors ix Gina MARCHETTI is an Associate Professor in the Department of Cinema and Photography at Ithaca College. In 1995 her book, Romance and the “Yellow Peril”: Race, Sex and Discursive Strategies in Hollywood Fiction, won the award for best book in the area of cultural studies from the Association of Asian American Studies. She has contributed essays to several anthologies, including Classic Hollywood, Classic Whiteness; Keyframes: Popular Cinema and Cultural Studies; At Full Speed: Hong Kong Cinema in a Borderless World; Ladies and Gentlemen, Boys and Girls: Gender in Film at the End of the Twentieth Century; Out of the Shadows: Asians in American Cinema; Countervisions: Asian American Film Criticism; The Cinema of Hong Kong: History, Arts, Identity; Transnational Chinese Cinemas: Identity, Nationhood, Gender; The Birth of Whiteness: Race and the Emergence of United States Cinema; Unspeakable Images: Ethnicity and the American Cinema; and other collections. She has published articles in Journal of Film and Video; Genders; Journal of Communication Inquiry; Positions: East Asia Cultures Critique; Postmodern Culture, Post Script; and others, as well as Jump Cut (where she serves on the editorial board). She also is a member of...