Chinese Cinemas: International Perspectives examines the impact the rapid expansion of Chinese filmmaking in mainland China has had on independent and popular Chinese cinemas both in and outside of China.
While the large Chinese markets are coveted by Hollywood, the commercial film industry within the People’s Republic of China has undergone rapid expansion since the 1990s. Its own production, distribution and exhibition capacities have increased exponentially in the past 20 years, producing box-office success both domestically and abroad.
This volume gathers the work of a range of established scholars and newer voices on Chinese cinemas to address questions that interrogate both Chinese films and the place and space of Chinese cinemas within the contemporary global film industries, including the impact on independent filmmaking both within and outside of China; the place of Chinese cinemas produced outside of China; and the significance of new internal and external distribution and exhibition patterns on recent conceptions of Chinese cinemas.
This is an ideal book for students and researchers interested in Chinese and Asian Cinema, as well as for students studying topics such as World Cinema and Asian Studies.
Introduction: Chinese Cinemas, International Perspectives
Felicia Chan and Andy Willis
Part I: Textual Constructions and Industrial Contexts
1. The Deconstruction and Intensification of ‘China’, or Primitive Passions in Man of Tai Chi
2. Internationalising Memory: Traumatic Histories and the PRC’s Quest to Win an Oscar
A.T. McKenna and Kiki Tianqi Yu
3. Once Upon a Time in China and America: Transnational Storytelling and the Recent Films of Peter Chan
4. Mediating Trauma: The Nanjing Massacre, City of Life and Death, and Affect as Soft Power
Corey Kai Nelson Schultz
Part II: Shifting Foci: Global and Local Chinese Cinemas
5. The Uncertainty Principle: Reframing Independent Film in Twenty-First Century Chinese Cinema
6. Crossing Hennessy, Big Blue Lake and Flowing Stories: re-centring the local in recent Hong Kong Cinema
7. Blurred lines? The dialectics of the margins and the mainstream in The Wedding Banquet (Ang Lee, 1993) and Saving Face (Alice Wu, 2004)
Part III: Woman in the Frame
8. First, not only: writing Chinese women’s film authorship
9. Women Characters, Women’s Cinema and Neo-Liberal Chinese Modernity: Doubled and Split
10. The Grain of Jade: Woman, Repression, and Fei Mu’s Springin a Small Town
Part IV: International Perspectives
11. Michelangelo Antonioni’s Chung Kuo — Cina (1972): A Moment of ‘Explicitation’
12. The Melbourne Controversy: Jia Zhangke and the Melbourne International Film Festival 2009
13. A Chinese Diasporic Festival Film in the Making?: The Interesting Case of Ann Hui’s A Simple Life