A comprehensive survey of current publications related to film scholarship alongside detailed filmographies. Includes the specialist index FIAF International Index to Film Periodicals Database and the filmographies created by the American Film Institute and the British Film Institute; AFI Catalog and Film Index International.
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Chinese Women's Cinema: transnational contexts by Lingzhen Wang (Editor)The first of its kind in English, this collection explores twenty one well established and lesser known female filmmakers from mainland China, Hong Kong, Taiwan, and the Chinese diaspora. Sixteen scholars illuminate these filmmakers' negotiations of local and global politics, cinematic representation, and issues of gender and sexuality, covering works from the 1920s to the present. Writing from the disciplines of Asian, women's, film, and auteur studies, contributors reclaim the work of Esther Eng, Tang Shu Shuen, Dong Kena, and Sylvia Chang, among others, who have transformed Chinese cinematic modernity. Chinese Women's Cinema is a unique, transcultural, interdisciplinary conversation on authorship, feminist cinema, transnational gender, and cinematic agency and representation. Lingzhen Wang's comprehensive introduction recounts the history and limitations of established feminist film theory, particularly its relationship with female cinematic authorship and agency. She also reviews critiques of classical feminist film theory, along with recent developments in feminist practice, altogether remapping feminist film discourse within transnational and interdisciplinary contexts. Wang's subsequent redefinition of women's cinema, and brief history of women's cinematic practices in modern China, encourage the reader to reposition gender and cinema within a transnational feminist configuration, such that power and knowledge are reexamined among and across cultures and nation-states.
Peking Opera Blues by Tan See KamPart historical drama, part thriller, and part comedy, Tsui Hark's Peking Opera Blues (1986) invites--if not demands--examinations from multiple perspectives. Tan See Kam rises to the challenge in this study by first situating Tsui in a Sinophone context. The diasporic director explores different dimensions of "Chineseness" in the film by depicting competing versions of Chinese nationalism and presenting characters speaking two Chinese languages, Cantonese and Mandarin. In the process he compels viewers to recognize the multiplicities of the Chinese identity and rethink what constitutes cultural Chineseness. The challenge to a single definition of "Chinese" is also embodied by the playful pastiches of diverse materials. In a series of intertextual readings, Tan reveals the full complexity of Peking Opera Blues by placing it at the center of a web of texts consisting of Tsui's earlier film Shanghai Blues (1984), Hong Kong's Mandarin Canto-pop songs, the "three-women" films in Chinese-language cinemas, and of course, traditional Peking opera, whose role-types, makeup, and dress code enrich the meaning of the film. In Tan's portrayal, Tsui Hark is a filmmaker who makes masterly use of postmodernist techniques to address postcolonial concerns. More than a quarter of a century after its release, Tan shows, Peking Opera Blues still reverberates in the present time.
Peter Ho-Sun Chan's He's a Woman, She's a Man by Lisa Odham StokesThis concise book is an in-depth analysis of Hong Kong director Peter Chan's dramedy 'He's a Woman, She's a Man, ' including the artistic, cultural, socio-economic and political aspects of the film, with an emphasis on audience/spectator response, globalism, gender and sexual orientation, and the figure of actor Leslie Cheung
Strange Eventful Histories: identity, performance, and Xu Wei's Four cries of a gibbon by Shiamin KwaWhen it comes to really knowing a person, is what you see really what you get? Is it ever all you get? In this first critical study and annotated translation of the dramatic masterpiece "Four Cries of a Gibbon" by the late-Ming dynasty Chinese playwright Xu Wei, author Shiamin Kwa considers the ways that people encounter and understand each other in extraordinary circumstances. With its tales of crimes redressed in the next world and girls masquerading as men to achieve everlasting fame, "Four Cries of a Gibbon" complicated issues of self and identity when it appeared in the late Ming dynasty, paving the way for increasingly nuanced reflections on such questions in late Ming and early Qing fiction and drama. Beyond their historical context, Xu Wei s influential plays serve as testimony to what Kwa argues are universal strategies found within drama. The heroes and heroines in these plays glide back and forth across the borders of life and death, of male and female, as they seek to articulate who they truly are. As the actors sort out these truths onstage, the members of the audience are invited to consider the truths that they live with offstage."
Women through the lens : gender and nation in a century of Chinese cinema by Shuqin CuiTopics include Tezuka's life, the art of animation, the connection between fantasy robots and technology, spin-offs, and Astro Boy's cultural impact.
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