New Chinese Cinemas: Forms, Identities, Politics

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Format: Paperback
Pub. Date: 1996-02-23
Publisher(s): Cambridge University Press
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Summary

New Chinese Cinemas analyses 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 'modernisation', 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.

Table of Contents

List of Illustrations
vii
List of Contributors
xi
Acknowledgments xv
Note on the Romanization of Chinese xvii
Introduction 1(14)
Nick Browne
I Film in the People's Republic
Spatiality and Subjectivity in Xie Jin's Film Melodrama of the New Period
15(25)
Ma Ning
Society and Subjectivity: On the Political Economy of Chinese Melodrama
40(17)
Nick Browne
Huang Jianxin and the Notion of Postsocialism
57(31)
Paul G. Pickowicz
Neither One Thing nor Another: Toward a Study of the Viewing Subject and Chinese Cinema in the 1980s
88(29)
Chris Berry
II Film in Taiwan and Hong Kong
Remapping Taipei
117(34)
Fredric Jameson
The Ideology of Initiation: The Films of Hou Hsiao-hsien
151(9)
William Tay
The Return of the Father: Hong Kong New Wave and Its Chinese Context in the 1980s
160(20)
Li Cheuk-To
Border Crossing: Mainland China's Presence in Hong Kong Cinema
180(22)
Esther Yau
Two Films from Hong Kong: Parody and Allegory
202(15)
Leo Ou-Fan Lee
Chronologies 217(14)
Paul G. Pickowicz
William Tay
Esther Yau
Li Cheuk-To
Glossary 231(6)
Scholarly Works on Chinese Filmmaking in the 1980s 237(12)
Li Huai
Paul G. Pickowicz
Index 249

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