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The Encyclopedia of Chinese Film, one of the first ever encyclopedias in this area, provides alphabetically organized entries on directors, genres, themes, and actors and actresses from mainland China, Hong Kong and Taiwan as well as 300 film synopses. Great care has been taken to provide solid cultural and historical context to the facts. The alphabetical entries are preceded by a substantial historical section, incorporating material on the the main studios and analysing the impact of Chinese film abroad as well as at home in recent years.This Encyclopedia meets the nee
Motion pictures --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- History and criticism --- Cinéma --- Cinéma
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Chiu and Zhang aim to bridge the distance between the scholarship of world literature and that of Chinese and Sinophone literary studies. This edited volume advances research on world literature by bringing in new developments in Chinese/Sinophone literatures and adds a much-needed new global perspective on Chinese literary studies beyond the traditional national literature paradigm and its recent critique by Sinophone studies. In addition to a critical mapping of the domains of world literature, Sinophone literature, and world literature in Chinese to delineate the nuanced differences of these three disciplines, the book addresses the issues of translation, genre, and the impact of media and technology on our understanding of 'literature' and 'literary prestige'.
Chinese literature --- Literature --- History and criticism. --- Translations --- China --- In literature. --- In motion pictures.
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This cutting-edge book examines the rapidly developing scene of Chinese independent documentary, arguably the most courageous player in contemporary Chinese visual culture. The authors explore two areas that are of special interest to China studies and film studies, respectively: (1) filming the everyday in twenty-first-century China to foreground contestation and diversity and (2) exploring the aesthetic of remembering in an embodied documentary practice, which turns the gaze on artists themselves and encourages the viewer's engagement with the filmed subjects and environment. Highlighting documentary contestation in China, the book traces its cacophony of expressions, some of it featuring confrontations with domineering elites, some of it highlighting negotiations among the independent filmmakers themselves. Their goal is not a “movement” that seeks to establish and impose a single truth, but rather a creative dynamic that fosters a community of tolerance and respects diverse forms of expression. Independent documentary is quite literally a moving target that is witnessing ongoing and widening diversity and complexity when it comes to directors, themes, aesthetics, human subjects, audiences, and impact. The authors stress the enormous potential of cultural production that features non-elites (including amateurs) and that dwells on the everyday, the bottom up, the grassroots, the seemingly mundane, and the apparently marginal. The book's emphasis on contemporary issues and its discussion of aesthetic experiments will appeal to all readers interested in China's culture, media, politics, and society.
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Film --- China --- Experimental films --- Documentary films --- Films expérimentaux --- Documentaires --- History and criticism. --- Histoire et critique --- S17/2000 --- China: Art and archaeology--Film --- Films expérimentaux --- Avant-garde films --- Experimental videos --- Personal films --- Underground films --- Motion pictures --- Video art --- Documentaries, Motion picture --- Documentary videos --- Factual films --- Motion picture documentaries --- Moving-pictures, Documentary --- Documentary mass media --- Nonfiction films --- Actualities (Motion pictures) --- History and criticism
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Film --- China --- Motion picture actors and actresses --- Motion pictures --- S17/2000 --- S26/1600 --- S27/1600 --- Cinema --- Feature films --- Films --- Movies --- Moving-pictures --- Audio-visual materials --- Mass media --- Performing arts --- Film actors --- Film stars --- Motion picture stars --- Movie stars --- Moving-picture actors and actresses --- Stars, Movie --- Actors --- Actresses --- China: Art and archaeology--Film --- Taiwan--Film, photography --- Hong Kong--Film --- History and criticism
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This collection of original essays explores the rise of popular print media in China as it relates to the quest for modernity in the global metropolis of Shanghai from 1926 to 1945. It does this by offering the first extended look at the phenomenal influence of the Liangyou pictorial, The Young Companion , arguably the most exciting monthly periodical ever published in China. Special emphasis is placed on the profound social and cultural impact of this glittering publication at a pivotal time in China. The essays explore the dynamic concept of 'kaleidoscopic modernity' and offer individual case studies on the rise of 'art' photography, the appeals of slick patent medicines, the resilience of female artists, the allure of aviation celebrities, the feistiness of women athletes, representations of modern masculinity, efforts to regulate the female body and female sexuality, and innovative research that locates the stunning impact of Liangyou in the broader context of related cultural developments in Tokyo and Seoul. Contributors include: Paul W. Ricketts, Timothy J. Shea, Emily Baum, Maura Elizabeth Cunningham, Jun Lei, Amy O'Keefe, Hongjian Wang, Ha Yoon Jung, Lesley W. Ma, Tongyun Yin, and Wang Chuchu.
Mass media --- Popular culture --- Art and photography --- Illustrated periodicals --- Photography and art --- Photography --- Periodicals --- Journalism, Pictorial --- Photojournalism --- Culture, Popular --- Mass culture --- Pop culture --- Popular arts --- Communication --- Intellectual life --- Mass society --- Recreation --- Culture --- Mass communication --- Media, Mass --- Media, The --- Liang you. --- Companion pictorial --- Shanghai (China) --- Changhaï (China) --- Ṣămhayi (China) --- Shang-hai (China) --- Shang hai shi (China) --- Shanghai --- Shanghai Municipality (China) --- Shanghai Shi (China) --- Shanghai Shi ren min zheng fu (China) --- Shankhaĭ (China) --- Xangai (China) --- 上海 (China) --- In mass media. --- In popular culture. --- Social conditions --- Social life and customs --- Chang-hai (China) --- Schanghai (China) --- 上海市(China) --- 上海市人民政府 (China) --- Шанхай (China) --- Śangqai (China)
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From Hollywood to Bollywood, from China to Italy, and from Poland to Mexico, this collection revisits the definitions and origins of star studies, and points the way forward to new ways of approaching the field.
Motion picture actors and actresses. --- Acteurs de cinéma --- Fame. --- Célébrités. --- Acteurs de cinéma. --- Sociology of culture --- Film --- Motion picture industry. --- Celebrity --- Renown --- Glory --- Film industry (Motion pictures) --- Moving-picture industry --- Cultural industries --- Film actors --- Film stars --- Motion picture stars --- Movie stars --- Moving-picture actors and actresses --- Stars, Movie --- Actors --- Actresses --- Acteurs de cinéma. --- Célébrités.
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Zhang Yimou's first film, Red Sorghum, took the Golden Bear Award in 1988 at the Berlin International Film Festival. Since then Chinese films have continued to arrest worldwide attention and capture major film awards, winning an international following that continues to grow. Transnational Chinese Cinemas spans nearly the entire length of twentieth-century Chinese film history. The volume traces the evolution of Chinese national cinema, and demonstrates that gender identity has been central to its formation. Femininity, masculinity and sexuality have been an integral part of the filmic discourses of modernity, nationhood, and history. This volume represents the most comprehensive, wide-ranging, and up-to-date study of China's major cinematic traditions. It is an indispensable source book for modern Chinese and Asian history, politics, literature, and culture.
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