restricted access   Volume 26, Number 2-3, Spring-Summer 2010

Table of Contents

A Note from the Guest Editors

pp. 179-180

Chinese Operas on Stage and Screen: A Short Introduction

pp. 181-199

Meeting of the Eyes: Invented Gesture, Cinematic Choreography, and Mei Lanfang's Kun Opera Film

pp. 200-219

Operatic Ghosts on Screen: The Case of A Test of Love (1958)

pp. 220-255

The Politics of Remediation: Mise-en-scène and the Subjunctive Body in Chinese Opera Film

pp. 256-290

Reading off the Screen: Toward Cinematic Il-literacy in Late 1950s Chinese Opera Film

pp. 291-315

Re-makes/Re-models: The Red Detachment of Women between Stage and Screen

pp. 316-342

Cultural Revolution Model Opera Films and the Realist Tradition in Chinese Cinema

pp. 343-376

"Eight Stage Works for 800 Million People": The Great Proletarian Cultural Revolution in Music—A View from Revolutionary Opera

pp. 377-401

Azalea Mountain and Late Mao Culture

pp. 402-425


Befriending Eisenstein on My First Trip to the Soviet Union

pp. 426-434

Notes about Directing Married to a Heavenly Immortal

pp. 435-445

The Design and Style of Opera Films

pp. 446-454

On the Revolution in Peking Opera (Tan Jingju geming)

pp. 455-459



Drama Kings: Players and Publics in the Re-creation of Peking Opera, 1870–1937 (review)

pp. 460-470

Women Playing Men: Yue Opera and Social Change in Twentieth-Century Shanghai (review)

pp. 471-475


Reflections on the Film Forever Enthralled (Mei Lanfang)

pp. 476-485

Turandot in China: Rejected, Reinterpreted, Reclaimed

pp. 486-492