Hjort argues that Stanley Kwan's contribution in Center Stage is to develop an approach to nonfiction filmmaking that is realist without being naïve. The value of the film's reflexive dimension, Hjort shows, has nothing to do with poststructuralist skepticism but with the compelling manifestation of a communicative model that serves as an alternative to hierarchical and authoritarian modes of social organization.

"Women Through the Lens will appeal to scholars and students in the fields of film, gender, and Asian studies, and to general readers interested in Chinese cinema."--Jacket.

This monograph offers a cutting edge perspective on the study of Chinese film stars by advancing a “linguaphonic” model, moving away from a conceptualization of transnational Chinese stardom reliant on the centrality of either action or body. It encompasses a selection of individual personalities from the most iconic Bruce Lee, Michelle Yeoh, and Maggie Cheung to the not-yet-full-fledged Takeshi Kaneshiro, Jay Chou, and Tang Wei to the newest Fan Binging, Liu Yifei, Wen Ming-Na, and Sammi Cheng who are exemplary to the star-making practices in the designated sites of articulations. This volume notably pivots on specific phonic modalities – spoken forms of tongues, manners of enunciation, styles of vocalization -- as means to mine ethnic and ideological underpinnings of Chinese stardom. By indicating a methodological shift from the visual-based to aural-based vectors, it asserts the phonic as a legitimate bearing that can generate novel vigor in the reimagination of Chineseness. By exhausting the critical affordability of the phonic, this book unravels the polemics of visuality and aurality, body and voice, as well as onscreen personae and offscreen existence, remapping the contours of the ethnic fame-making in the global mediascape.

Interviews with Ang Lee (Crouching Tiger, Hidden Dragon) and other Chinese directors about their work & the ways it has impacted both on the film industry in China as well as on the world scene.

Chinese cinema continues to go from strength to strength. After art-house hits like Chen Kaige's Yellow Earth (1984) and Wong Kar-wai's In the Mood for Love (2000), the Oscar-winning success of Ang Lee's Crouching Tiger Hidden Dragon (2000) disproved the old myth that subtitled films could not succeed at the multiplex. Chinese Films in Focus II updates and expands the original Chinese Films in Focus: 25 New Takes with fourteen brand new essays, to offer thirty-four fresh and insightful readings of key individual films. The new edition addresses films from mainland China, Taiwan, Hong Kong and other parts of the Chinese diaspora and the historical coverage ranges from the 1930s to the present. The essays, by leading authorities on Chinese cinema as well as up-and-coming scholars, are concise, accessible, rich, and on the cutting edge of current research. Each contributor outlines existing writing and presents an original perspective on the film, making this volume a rich resource for classroom use, scholarly research and general reading for anyone wanting to understand more about the historical development and rich variety of Chinese cinema. Contributors: Annette Aw, Chris Berry, Yomi Braester, Felicia Chan, Esther Cheung, Robert Chi, Rey Chow, Mary Farquhar, Carolyn FitzGerald, Ping Fu, Kristine Harris, Margaret Hillenbrand, Brian Hu, Tan See Kam, Haiyan Lee, Vivian Lee, Helen Hok-Sze Leung, David Leiwei Li, Song Hwee Lim, Kam Louie, Fran Martin, Jason McGrath, Corrado Neri, Jonathan Noble, Beremoce Reynaud, Cui Shuqin, Julian Stringer, Janice Tong, Yiman Wang, Faye Hui Xiao, Gang Gary Xu, Audrey Yue, Yingjin Zhang, John Zou The Editor: Chris Berry is Professor of Film and Television at Goldsmiths, University of London.

The Berkshire Dictionary of Chinese Biography (1979-2015) provides a riveting new way to understand twenty-first-century China and a personal look at the changes that have taken place since the Reform and Opening Up era started in 1979. One hundred key individuals from this period were selected by an international group of experts, and the stories were written by more than 70 authors in 14 countries. The authors map the paths taken by these individuals-some rocky, some meandering, some fateful-and in telling their stories give contemporary Chinese history a human face. The editors have included-with the advice of myriad experts around the world-not only the life stories of politicians and government officials, who play a crucial role in the development of the country, but the stories of cultural figures including, film directors, activists, writers, and entrepreneurs from the mainland China, Hong Kong, and also from Taiwan. The "Greater China" that comes through in this volume has diverse ideas and identities. It is often contradictory, sometimes fractious, and always full of creative human complexity. Some of the lives rendered here are heroic. Some are tragic, and many are inspirational. Some figures come in for trenchant criticism, and others are celebrated with a sense of wonder and awe. Like previous volumes of the Berkshire Dictionary of Chinese Biography, this volume includes a range of appendices, including a pronunciation guide, a bibliography, and a timeline of key events.

Through most of the 20th century, the distinction between the fictional narrative film and the documentary was vigorously maintained. The documentary tradition developed side by side with, but in the shadow of, the more commercially successful feature film. In the latter part of the century, however, the two forms merged on occasion, and mockumentaries (fictional works in a documentary format) and docudramas (reality-based works in a fictional format) became part of the film and television landscape. The 18 essays here examine the relationships between narrative fiction films and documentary filmmaking, focusing on how each influenced the other and how the two were merged in such diverse films and shows as Citizen Kane, M*A*S*H, This Is Spinal Tap, and Destination Moon. Topics include the docudrama in early cinema, the industrial film as faux documentary, the fear evoked in 1950s science fiction films, the selling of "reality" in mockumentaries, and reality television and documentary forms. The essays provide a foundation for significant rethinking of film history and criticism, offering the first significant discussion of two emerging and increasingly important genres. Instructors considering this book for use in a course may request an examination copy here.

Old Stories Retold explores the ways modern Chinese narratives dramatize and embody the historical sense that links them to the past and to the Chinese literary tradition. Largely guided by Walter Benjamin’s discussions of history, G. Andrew Stuckey looks at the ways Chinese narrative engages a historical process that pieces together fragments of the past into new configurations to better serve present needs. By examining intertextual connections between separate texts, Stuckey seeks to discover traces of an “original,” whether it be thought of as the past, history, or tradition, when it has been rewritten in modern and contemporary Chinese fiction. Old Stories Retold shows how the articulation of the past into new historical configurations disrupts accepted understandings of the past, and as such, can be intentionally pitted against modernist historical knowledge to resist the modernist ends that this knowledge is mobilized to achieve.

Drawing on a variety of film semiotic theories, this book sheds light on works by mainland Chinese directors, Hong Kong New Wave directors, Taiwan New Cinema directors, and overseas Chinese directors. Zeng examines the cultural/historical implications of exile through the detailed analysis of film language and theoretical exploration.

Since the publication of the first volume of Directory of World Cinema: China, the Chinese film industry has intensified its efforts to make inroads into the American market. The 2012 acquisition of US theatre chain AMC and visual effects house Digital Domain by Chinese firms testifies to the global ambitions of China’s powerhouse film industry. Yet Chinese cinema has had few crossover hits in recent years to match the success of such earlier films as Crouching Tiger, Hidden Dragon; House of Flying Daggers and Kung Fu Hustle. Yet even overseas revenue for Chinese movies has dwindled, domestic market growth has surged year after year. Indeed, annual production output remains healthy, and the daily expansion of screens in second-or third-tier cities attracts audiences whose tastes favour domestic films over foreign imports.