This three-volume set charting the general history of Chinese film organizes, analyses, and explains the different stages of development of Chinese film from 1896 to the present day.
It includes analysis of films, filmmakers, historical elements of film style, as well as a review and elaboration of major events, while examining the intersection between film ecology and cultural ecology in every historical period, deploying the results of contemporary research from both China and abroad. Beginning with the film as text, it proceeds through formal analysis and comparison, makes connections with the social background of the work and the filmmakers, and narrates a continuous history of Chinese films and filmmakers and their world. The purpose is to deduce the historical basis for the evolution of film as art, political, philosophical, and literary trends, and to understand and explain how the current tradition of Chinese film has been gradually constructed from the past.
This set will be a essential reading for scholars and students in film studies, Chinese studies, cultural studies, and media studies.
Table of Contents
Volume 1: Introduction. 1. The Start of the Silver Journey and Experiments in Domestic Film (1896-1921). 2. The Start of Chinese National Cinema and Movie Stars (1922-1931). 3. The Reconstruction of Left-wing Films (1932-1933). 4. The Construction of Image and Spirit (1932-1937). 5. Context and Identity (1938-1941). 6. Films in the Occupied Period (1941-1949). 7. Society, Films and Responsibility (1945-1947). 8. Film of the Dramatically Changing Era (1948-1949).
Volume 2: Introduction. 1. Films Shouldering a Newborn State Power (1949-1951). 2. Imagination and a Turning Point (1952-1956). 3. In Collective Sentiments: The True Mirror (1957-1965). 4. Death of Film: A Portrait of Delirium in the Cultural Revolution Period (1966-1971). 5. The Scene of Revolution in a Special Period (1972-1974). 6. Under the Redness (1975-1976).
Volume 3: Introduction. 1. Collision of Films in a New Era (1977-1979). 2. Politics and Cultural Rhetoric (1980-1989). 3. Film, Market and Society (1990-1993). 4. The Appearance of Blockbusters (1994-1999). 5. Globalization and Imagination in Films (2000-2006). 6. The Operation and Influence of Marketization (2007-2009). 7. Image Production and the Film at the Age of Digital (2010-2012). 8. From the Era of Globalization to the Internet Age (2013-).
Ding Yaping is the Director of the Film and Television Research Institute of the Chinese National Academy of Arts. He specializes in the history of Chinese film and has published more than 20 monographs.
Jin Haina is professor of translation, film and communication studies at the Communication University of China. Her research interests include film translation, translation history, and film history.