1. A Note from the Guest Editors
  2. Paola Iovene, Judith T. Zeitlin
  3. pp. 179-180
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  1. Meeting of the Eyes: Invented Gesture, Cinematic Choreography, and Mei Lanfang's Kun Opera Film
  2. Xinyu Dong
  3. pp. 200-219
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  1. Operatic Ghosts on Screen: The Case of A Test of Love (1958)
  2. Judith T. Zeitlin
  3. pp. 220-255
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  1. The Politics of Remediation: Mise-en-scène and the Subjunctive Body in Chinese Opera Film
  2. Weihong Bao
  3. pp. 256-290
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  1. Reading off the Screen: Toward Cinematic Il-literacy in Late 1950s Chinese Opera Film
  2. Ling Hon Lam
  3. pp. 291-315
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  1. Re-makes/Re-models: The Red Detachment of Women between Stage and Screen
  2. Kristine Harris
  3. pp. 316-342
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  1. Cultural Revolution Model Opera Films and the Realist Tradition in Chinese Cinema
  2. Jason McGrath
  3. pp. 343-376
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  1. "Eight Stage Works for 800 Million People": The Great Proletarian Cultural Revolution in Music—A View from Revolutionary Opera
  2. Barbara Mittler
  3. pp. 377-401
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  1. Azalea Mountain and Late Mao Culture
  2. Nicole Huang
  3. pp. 402-425
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  1. Befriending Eisenstein on My First Trip to the Soviet Union
  2. Mei Lanfang, Anne Rebull
  3. pp. 426-434
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  1. Notes about Directing Married to a Heavenly Immortal
  2. Shi Hui, Wilt L. Idema
  3. pp. 435-445
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  1. The Design and Style of Opera Films
  2. Han Shangyi, Jessica Ka Yee Chan, Judith T. Zeitlin, Anne Rebull
  3. pp. 446-454
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  1. On the Revolution in Peking Opera (Tan Jingju geming)
  2. Jiang Qing, Jessica Ka Yee Chan
  3. pp. 455-459
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  1. Drama Kings: Players and Publics in the Re-creation of Peking Opera, 1870–1937 (review)
  2. Andrea S. Goldman
  3. pp. 460-470
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  1. Women Playing Men: Yue Opera and Social Change in Twentieth-Century Shanghai (review)
  2. Xiaomei Chen
  3. pp. 471-475
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  1. Reflections on the Film Forever Enthralled (Mei Lanfang)
  2. Fu Jin, Anne Rebull
  3. pp. 476-485
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  1. Turandot in China: Rejected, Reinterpreted, Reclaimed
  2. Sheila Melvin, Jindong Cai
  3. pp. 486-492
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  1. Chinese Operas on Stage and Screen: A Short Introduction
  2. Paola Iovene
  3. pp. 181-199
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