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WO R K S C I T E D 2 8 7 Works Cited W E S T E R N S O U R C E S Abbas, Ackbar. “The New Hong Kong Cinema and the Déjà Disparu,” Discourse 16, no. 3 (1994): 65–77. Althusser, Louis. Lenin and Philosophy and Other Essays. Trans. Ben Brewster. London: New Left Books, 1971. Apter, David E., and Tony Saich, eds. Revolutionary Discourse in Mao’s Republic. Cambridge, Mass.: Harvard Univ. Press, 1994. Aumont, Jacques, Alain Bergala, Michel Marie, and Marc Vernet. Aesthetics of Film. Trans. Richard Neupert. Austin: Univ. of Texas Press, 1983. Barlow, Tani. “Theorizing Woman: Funü, Guojia, Jiating (Chinese Women, Chinese State, Chinese Family).” In Grewal and Kaplan, eds., Scattered Hegemonies. ––––––, ed. Gender Politics in Modern China: Writing and Feminism. Durham, N.C.: Duke Univ. Press, 1993. Barme, Geremie R. In the Red: On Contemporary Chinese Culture. New York: Columbia Univ. Press, 1999. Beaver, Frank E. Dictionary of Film Terms: The Aesthetic Companion to Film Analysis. New York: Twayne, 1994. Bell, Shannon. Reading, Writing, and Rewriting the Prostitute Body. Bloomington: Indiana Univ. Press, 1994. Benjamin, Walter. “Allegory and Trauerspiel.” In The Origin of German Tragic Drama. Trans. John Osborne, 159–190. London: NLB, 1977. Berry, Chris. “Chinese ‘Women’s Cinema.’” Camera Obscura: A Journal of Feminism and Film Theory 18 (September 1988): 5–41. ––––––. “Sexual Difference and the Viewing Subject in Li Shuangshuang and The InLaws .” In Berry, ed., Perspectives on Chinese Cinema, 30–39. ––––––, ed. Perspectives on Chinese Cinema. London: British Film Institute, 1991. Bhabha, Homi K. “The Commitment to Theory.” In Questions of Third Cinema. Ed. Jim Pines and Paul Willenmen, 111–132. London: British Film Institute, 1989. Branigan, Edward. Point of View in the Cinema: A Theory of Narration and Subjectivity in Classical Film. New York: Mouton, 1984. Braudy, Leo. The World in a Frame: What We See in Films. New York: Anchor Press, 1976. Brinker-Gabler, Gisela, and Sidonie Smith, eds. Writing New Identities: Gender, Nation, and Immigration in Contemporary Europe. Minneapolis: Univ. of Minnesota Press, 1997. Browne, Nick. “Society and Subjectivity: On the Political Economy of Chinese Melodrama .” In Browne et al., eds., New Chinese Cinemas, 40–56. Browne, Nick, Paul G. Pickowicz, Vivian Sobchack, and Esther Yau, eds. New Chinese Cinemas: Forms, Identities, Politics. Cambridge: Cambridge Univ. Press, 1994. Callahan, W. A. “Gender, Ideology, Nation: Ju Dou in the Cultural Politics of China.” East-West Film Journal 7, no. 1 (1993): 52–80. Carrier, James G., ed. Occidentalism: Images of the West. New York: Oxford Univ. Press, 1995. WO R K S C I T E D 2 8 8 Chatman, Seymour. Story and Discourse: Narrative Structure in Fiction and Film. Ithaca, N.Y.: Cornell Univ. Press, 1978. Chen, Pauline. “History Lessons.” Film Comment 30 (March–April 1994): 85–87. Chen Xiaomei. “The Marginality of the Study of Cultural Revolution: The Neglected and the Privileged in the Making of Imagined Communities.” Paper presented at the Historical Society for Twentieth-Century China symposium, Coeur d’Alene, Idaho, October 1997. ––––––. Occidentalism: A Theory of Counter-Discourse in Post-Mao China. New York: Oxford Univ. Press, 1995. Cheng, Scarlet. “The Road Home.” Far Eastern Economic Review, 6 April 2000. Chow, Rey. Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema. New York: Columbia Univ. Press, 1995. ––––––. Woman and Chinese Modernity: The Politics of Reading between West and East. Minneapolis: Univ. of Minnesota Press, 1991. ––––––. Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies. Bloomington: Indiana Univ. Press, 1993. Cohn, Dorrit. Transparent Minds: Narrative Modes for Presenting Consciousness in Fiction. Princeton, N.J.: Princeton Univ. Press, 1978. Creed, Barbara. “From Here to Modernity: Feminism and Postmodernism.” Screen 28 (1987): 47–67. Crofts, Stephen. “Concepts of National Cinema.” In World Cinema: Critical Approaches. Ed. John Hill and Pamela Church Gibson. Oxford: Oxford Univ. Press, 2000. Cui, Shuqin. “Working from the Margins and outside the System: Independent Film Directors in Contemporary China.” Post Script 20 (winter/spring 2001): 77–93. Dai Jinhua. “Invisible Women: Contemporary Chinese Cinema and Women’s Film.” Trans. Mayfair Yang. Positions 3, no. 1 (1995): 255–280. ––––––. “Redemption and Consumption: Depicting Culture in the 1990s.” Positions 4, no. 1 (1996): 127–142. Dai Jinhua, and Mayfair Yang. “A Conversation with Huang Shuqin.” Positions 3, no. 3 (1995): 790–805. Dal Lago, Francesca. “Personal Mao: Reshaping an Icon in Contemporary Chinese Art.” Art Journal 58 (summer 1999): 46–59. Davis, Robert Con, and David S. Gross. “Gayatri Chakravorty Spivak and the Ethos of the Subaltern...