The Chinese Cinema Book

This revised and updated new edition provides a comprehensive introduction to the history of cinema in mainland China, Hong Kong and Taiwan, as well as to disaporic and transnational Chinese film-making, from the beginnings of cinema to the present day. Chapters by leading international scholars are grouped in thematic sections addressing key historical periods, film movements, genres, stars and auteurs, and the industrial and technological contexts of cinema in Greater China.

Song Hwee Lim is a professor in the Department of Cultural and Religious Studies at The Chinese University of Hong Kong (CUHK), China. He is an Honorary Research Fellow at the University of Exeter, UK. Lim is the author of Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas (2006), and Tsai Ming-liang and a Cinema of Slowness (2014). He is the co-editor of the first edition of The Chinese Cinema Book (BFI, 2011) and of Remapping World Cinema: Identity, Culture and Politics in Film (2006), and a founding editor of the peer-reviewed Journal of Chinese Cinemas as well as being the Principal Investigator of an international networks project "Chinese Cinemas in the 21st Century: Production, Consumption, Imagination" funded by the Leverhulme Trust (UK) between 2012 and 2013. He has held visiting fellowships at Academia Sinica (Taiwan), Free University Berlin, National Chiao Tung University (Taiwan), and National University of Singapore, and has delivered keynote lectures in Australia, Britain and China. Julian Ward is a senior lecturer in Chinese in the department of Asian Studies at the University of Edinburgh, UK. He is an associate editor of the Journal of Chinese Cinemas, co-author of The Rough Guide to Mandarin Chinese (2006) and co-editor of the first edition of The Chinese Cinema Book (BFI, 2011).

Introduction"The Coming of Age of Chinese Cinemas Studies" Song Hwee Lim, Chinese University of Hong Kong, China, and Julian Ward, University of Edinburgh, UK Preface to Revised Edition Song Hwee Lim, Chinese University of Hong Kong, China, and Julian Ward, University of Edinburgh, UK Section I: Territories, Trajectories, Historiographies Chapter 1, "Transnational Chinese Film Studies" Chris Berry, King's College London, UK Chapter 2, "National Cinema as Translocal Practice: reflections on Chinese LFI Historiography"Yingjin Zhang, University of California, San Diego, USA Chapter 3, "Cinemas of the Chinese Diaspora" Gina Marchetti, Hong Kong University, China Chapter 4, "Six Chinese Cinemas in Search of a Historiography" Song Hwee Lim Section II: Early Cinema to 1949 Chapter 5, "Shadow Magic and the Lost Decades in Chinese Film History" Zhiwei Xiao, California State University, San Marcos, and Xuelei Huang, University of Edinburgh, UK Chapter 6, "The Making of a National Cinema: Shanghai Cinema of the 1930s" Laikwan Pang, The Chinese University of Hong Kong, China Chapter 7, "Wartime Cinema: Reconfiguration and Border Navigation" Yiman Wang, University of California, Santa Cruz, USA Chapter 8, "Chinese Filmmaking on the eve of the Communist Revolution" Paul Pickowicz, University of California, San Diego, USA Section III: The Forgotten Period - 1949-1980 Chapter 9, "The Remodelling of a National Cinema: Chinese film of the Seventeen Years (1949-1966)" Julian Ward, University of Edinburgh, UK Chapter 10, "Liminal Cinema: PRC Film Genres of the New Era" Michael Berry, University of California, Los Angeles, USA Chapter 11, "Healthy Realism in Taiwan, 1964-1980: Film Style, Cultural Policies and Mandarin Cinema" Guo-Juin Hong, Duke University, USA Chapter 12, "The Hong Kong Cantonese Cinema: Emergence, Development and Decline" Stephen Teo, Nanyang Technological University, Singapore Section IV: The New Waves Chapter 13, "The Fifth Generation: A Re-assessment" Wendy Larson, University of Oregon, USA Chapter 14, "Taiwan New Cinema Movement and Its Legacy" Tonglin Lu, University of Montreal, Canada Chapter 15, "The Hong Kong New Wave: A Critical Reappraisal" Vivian P. Y. Lee, City University of Hong Kong, China Chapter 16, "Transnational Chinese-Language Auteurism: Time, Place, Gender" James Udden, Gettysburg College, Pennsylvania, USA Section V: Stars, Auteurs and Genres Chapter 17, "Dragons Forever: Chinese Martial Arts Stars" Leon Hunt, Brunel University, UK Chapter 18, "The Contemporary Wuxia Revival: Genre Evolution and the Hollywood Transnational Factor" Kenneth Chan, University of Northern Colorado, USA Chapter 19, "Independent Documentary in China, Taiwan, and Hong Kong"Luke Robinson, University of Sussex, UK Section 6: Industry, Market and TechnologyChapter 20, "Contemporary Mainstream PRC Cinema"Yomi Braester, University of Washington, USA Chapter 21, "The Urban Generation: Underground and Independent Films from the PRC" Jason McGrath, University of Minnesota, USA Chapter 22, "Censorship, Propaganda, and Film Policy" Matthew Johnson, Taylor's University, Malaysia Chapter 23, "Alternative Ways of Seeing: Post-Digital Detours in Chinese Cinema" Paola Voci, University of Otago, New Zealand Afterword"Liquidity of Being" Rey Chow, Duke University, USA Appendix 1Book-length Studies of Chinese Cinemas in the English Language Compiled by Wan-Jui Wang, Louise Williams, Li Pin, and Song Hwee Lim Appendix 2Chinese Film Titles Appendix 3Chinese Names Appendix 1 Book-length Studies of Chinese Cinemas in the English Language Compiled by Wan-Jui Wang, Louise Williams, Li Pin, and Song Hwee Lim Appendix 2Chinese Film Titles Appendix 3Chinese Names