New Chinese Cinemas analyzes the changing forms and significance of filmmaking in the People's Republic of China, Taiwan, and Hong Kong since the end of the Cultural Revolution, with a particular emphasis on how film comments on the profound social changes that have occurred in East Asia over the past two decades. Considering in detail both conservative and progressive stances on economic modernization, it also demonstrates how film has been an important formal structure and social document in the interpretation of these changes. The essays collected here, which were specially commissioned for this volume, also offer extended analyses of the important trends, styles, and work that define Chinese filmmaking in the 1980s.
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"...New Chinese Cinemas...is undoubtedly the best singel-volume publication on contemporary Chinese cinema in English to date." Bulletin of Concerned Asian Scholars
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This analysis of the changing forms and significance of Chinese filmmaking considers conservative as well as progressive stances on modernization. It reveals how film comments on the profound social changes that have occurred in East Asia over the past two decades.
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Just as the "new period" is considered a time of transition in Chinese politics, Xie Jin can be regarded as a transitional figure between the classical Chinese cinema and the new wave cinema of the early 1980s. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
cong juben dao yingpian, dianying chuban, traditional socialist societies, traditional socialist system, mainland cinema, dianying yishu, melodramatic paradigms, dianying bao, mainland films, postsocialist condition, initiation theme, film melodrama, political melodrama, viewing subject, traditional socialism, bourgeois liberalization, political instructor, new wave directors, plot strands, modernist framework, new cinema, family melodrama, spatial positioning Key Phrases - Capitalized Phrases (CAPs): (learn more)
Hong Kong, Huang Jianxin, Xie Jin, Cultural Revolution, The Black Cannon Incident, Hibiscus Town, People's Republic, Long Arm of the Law, New York, Yellow Earth, Hou Hsiao-hsien, Red Sorghum, Shi Ba, Tsui Hark, Communist Party, Deng Xiaoping, Third World, Boat People, Chris Berry, Jackie Chan, Zhao Shuxin, Edward Yang, Esther Yau, United States, Yim Ho New!
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Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Just as the "new period" is considered a time of transition in Chinese politics, Xie Jin can be regarded as a transitional figure between the classical Chinese cinema and the new wave cinema of the early 1980s. Read the first page Key Phrases - Statistically Improbable Phrases (SIPs): (learn more)
cong juben dao yingpian, dianying chuban, traditional socialist societies, traditional socialist system, mainland cinema, dianying yishu, melodramatic paradigms, dianying bao, mainland films, postsocialist condition, initiation theme, film melodrama, political melodrama, viewing subject, traditional socialism, bourgeois liberalization, political instructor, new wave directors, plot strands, modernist framework, new cinema, family melodrama, spatial positioning Key Phrases - Capitalized Phrases (CAPs): (learn more)
Hong Kong, Huang Jianxin, Xie Jin, Cultural Revolution, The Black Cannon Incident, Hibiscus Town, People's Republic, Long Arm of the Law, New York, Yellow Earth, Hou Hsiao-hsien, Red Sorghum, Shi Ba, Tsui Hark, Communist Party, Deng Xiaoping, Third World, Boat People, Chris Berry, Jackie Chan, Zhao Shuxin, Edward Yang, Esther Yau, United States, Yim Ho New!
Books on Related Topics | Concordance | Text Stats Browse Sample Pages:
Front Cover | Table of Contents | First Pages | Index | Back Cover | Surprise Me!
Citations (learn more)
This book cites 73
books:
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32
books
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- Perspectives of Chinese Cinema by Chris Berry on 12 pages
- Chinese Film (National Film Traditions) by Chris Berry on page 39, Back Matter (1), and Back Matter (2)
- From May Fourth to June Fourth: Fiction and Film in Twentieth-Century China (Harvard Contemporary China Series) by Ellen Widmer on page 84, Back Matter (1), and Back Matter (2)
- Patriarchy and Socialist Revolution in China by Judith Stacey on page 39, page 55, and page 112
- Chinese Village, Socialist State by Edward Friedman in Front Matter, and page 85
See all 73 books this book cites
- Envisioning Taiwan: Fiction, Cinema, and the Nation in the Cultural Imaginary (Asia-Pacific: Culture, Politics, and Society) by June Yip on 4 pages
- Cinema and Urban Culture in Shanghai, 1922-1943 by Yingjin Zhang on 4 pages
- Celluloid China: Cinematic Encounters with Culture and Society by Harry H. Kuoshu on 4 pages
- The Cinema of Hong Kong: History, Arts, Identity by Poshek Fu in Front Matter, page 194, and page 221
- Re-inventing China: A Generation and its Films by Paul Clark in Back Matter (1), Back Matter (2), and Back Matter (3)
See all 32 books citing this book
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