Relevant bibliographies by topics / Chinese cinema

Contents

  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers
  6. Reports

Academic literature on the topic 'Chinese cinema'

Author: Grafiati
Published: 4 June 2021
Last updated: 24 January 2023

Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles

Select a source type:

Consult the lists of relevant articles, books, theses, conference reports, and other scholarly sources on the topic 'Chinese cinema.'

Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.

You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.

Journal articles on the topic "Chinese cinema"

1

Talmacs, Nicole. "Chinese cinema and Australian audiences: an exploratory study." Media International Australia 175, no. 1 (March 5, 2020): 50–64. http://dx.doi.org/10.1177/1329878x20908083.

Full text
Abstract:
Since Wanda’s acquisition of Hoyts Group in 2015, and Australia’s signing of the Film Co-production Treaty with China in 2008, Chinese cinema has gained access to mainstream Australian cinemas more than ever before. To date, these films have struggled to cross over into the mainstream (that is, attract non-diasporic audiences). Drawing on film screenings of a selection of both Chinese and Chinese-foreign co-productions recently theatrically released in major cities in Australia, this article finds Chinese and Chinese-foreign co-produced cinema will likely continue to lack appeal among non-Chinese Australian audiences. Concerningly, exposure to contemporary Chinese cinema was found to negatively impact willingness to watch Chinese cinema again, and in some cases, worsen impressions of China and Chinese society.
APA, Harvard, Vancouver, ISO, and other styles
2

Wu, C. C. "Queering Chinese-language cinemas: Stanley Kwan's Yang Yin: Gender in Chinese Cinema." Screen 51, no. 1 (March 1, 2010): 38–53. http://dx.doi.org/10.1093/screen/hjp054.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Nakajima, Seio. "Studies of Chinese Cinema in Japan." Journal of Chinese Film Studies 1, no. 1 (March 11, 2021): 167–86. http://dx.doi.org/10.1515/jcfs-2021-0001.

Full text
Abstract:
Abstract Japanese interests in Chinese cinema go as far back as to the 1910s, when film magazines reported on the situation of Chinese cinema. Discussions of Chinese cinema began to flourish in the 1920s, when intellectuals wrote travelogue essays on Chinese cinema, particularly on Shanghai cinema. In the mid-1930s, more serious analytical discourses were presented by a number of influential contemporary intellectuals, and that trend continued until the end of WWII. Post-War confusion in Japan, as well as political turmoil in China, dampened academic interests of Japanese scholars on Chinese cinema somewhat, but since the re-discovery of Chinese cinema in the early 1980s with the emergence of the Fifth Generation, academic discussions on Chinese cinema resumed and flourished in the 1980s and the 1990s. In the past decade or so, interesting new trends in studies of Chinese cinema in Japan are emerging that include more transnational and comparative approaches, focusing not only on film text but the context of production, distribution, and exhibition. Moreover, scholars from outside of the disciplines of literature and film studies—such as cultural studies, history, and sociology—have begun to contribute to rigorous discussions of Chinese cinema in Japan.
APA, Harvard, Vancouver, ISO, and other styles
4

Wu, Hui. "Shakespeare in Chinese Cinema." Multicultural Shakespeare: Translation, Appropriation and Performance 10, no. 25 (December 31, 2013): 71–81. http://dx.doi.org/10.2478/mstap-2013-0006.

Full text
Abstract:
Shakespeare’s plays were first adapted in the Chinese cinema in the era of silent motion pictures, such as A Woman Lawyer (from The Merchant of Venice, 1927), and A Spray of Plum Blossoms (from The Two Gentlemen of Verona, 1931). The most recent Chinese adaptations/spinoffs include two 2006 films based on Hamlet. After a brief review of Shakespeare’s history in the Chinese cinema, this study compares the two Chinese Hamlets released in 2006—Feng Xiaogang’s Banquet and Hu Xuehua’s Prince of the Himalayas to illustrate how Chinese filmmakers approach Shakespeare. Both re-invent Shakespeare’s Hamlet story and transfer it to a specific time, culture and landscape. The story of The Banquet takes place in a warring state in China of the 10th century while The Prince is set in pre-Buddhist Tibet. The former as a blockbuster movie in China has gained a financial success albeit being criticised for its commercial aesthetics. The latter, on the other hand, has raised attention amongst academics and critics and won several prizes though not as successful on the movie market. This study examines how the two Chinese Hamlet movies treat Shakespeare’s story in using different filmic strategies of story, character, picture, music and style.
APA, Harvard, Vancouver, ISO, and other styles
5

Berry, Chris. "Chinese “Women's Cinema”: Introduction." Camera Obscura: Feminism, Culture, and Media Studies 6, no. 3 (September 1, 1988): 4–7. http://dx.doi.org/10.1215/02705346-6-3_18-4.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Ying, Xu. "Additional Chinese Cinema Periodicals." Asian Cinema 10, no. 1 (September 1, 1998): 221–22. http://dx.doi.org/10.1386/ac.10.1.221_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Leung, Helen Hok-Sze. "Unthinking: Chinese • Cinema • Criticism." Journal of Chinese Cinemas 1, no. 1 (January 2006): 71–73. http://dx.doi.org/10.1386/jcc.1.1.71_7.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Casas-Tost, Helena, and Sara Rovira-Esteva. "Chinese cinema in Spain." Babel. Revue internationale de la traduction / International Journal of Translation 65, no. 4 (September 9, 2019): 581–603. http://dx.doi.org/10.1075/babel.00109.cas.

Full text
Abstract:
Abstract Audiovisual translation has become one of the main means of communication between cultures. Although the number of Chinese films that reach Spanish audiences is rather limited, the cinema is still a very powerful tool in bridging the gap between these two cultures. This paper aims to give an overview of the situation of Chinese cinema in Spain through audiovisual translation. In order to do so, a database of 500 Chinese films translated into Spanish has been created. For each film, different types of information organized into three blocks have been collected: firstly, data regarding the source film in Chinese; secondly, data on the translated film; and finally, information about paratexts related to the film in Chinese, Spanish and English. Through a quantitative and qualitative analysis of our data the main trends in Chinese-Spanish audiovisual translation from the mid-1970s to today are shown. Our results identify the most popular Chinese directors and the main genres and translation modalities. We point out the role of the translator and the importance of mediating languages; and, finally, we highlight the significance of distribution channels, particularly film festivals. This article aims at filling the gap with regard to research in audiovisual translation as an intercultural exchange between China and Spain.
APA, Harvard, Vancouver, ISO, and other styles
9

Raju, Zakir Hossain. "Filmic imaginations of the Malaysian Chinese: ‘Mahua cinema’ as a transnational Chinese cinema." Journal of Chinese Cinemas 2, no. 1 (January 2008): 67–79. http://dx.doi.org/10.1386/jcc.2.1.67_1.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

McGrath, Jason. "Suppositionality, Virtuality, and Chinese Cinema." boundary 2 49, no. 1 (February 1, 2022): 263–92. http://dx.doi.org/10.1215/01903659-9615487.

Full text
Abstract:
In Chinese performance arts, one thing that was largely abandoned in the shift from traditional drama to motion pictures was the suppositionality of Chinese operatic performance, and the transition to digital cinema, particularly in the case of big-budget blockbusters that compete for mass audiences in greater China as well as abroad, raises the question of if and how an aesthetic of suppositionality is related to the emerging virtual realism enabled by computer-generated imagery (CGI). The concept of suppositionality not only helps us to evaluate how contemporary Chinese animation and CGI blockbusters remediate premodern cultural narratives but also provides an analytical measure for approaching the growing phenomenon of motion capture and composited performances. The “virtual realism” of CGI frees Chinese filmmakers to reject the ontological realism of photography and instead favor an aggressively animated style of visual effects while returning actors to a reprise of the suppositional performance style of traditional opera.
APA, Harvard, Vancouver, ISO, and other styles
More sources

Dissertations / Theses on the topic "Chinese cinema"

1

Zhang, Li-Fen. "After Mao : cinema and Chinese society : a sociological analysis of the Chinese cinema (1978-92)." Thesis, University of Leicester, 1995. http://hdl.handle.net/2381/34617.

Full text
Abstract:
This theses, of primarily a sociological nature, aims to examine the emergence of post-Mao Chinese cinema and its embodied political culture, in responding, or adjusting, to the sweeping and sometimes rather turbulent process of the "open door" reform movement. The transformation of Chinese cinema, as a whole, is an area of relatively minor importance, when compared with other major agenda items on the reform programme (i.e., economic growth, financial and fiscal stability, etc.). Nevertheless, the case of Chinese cinema does provide us with a unique setting and perspective so as to reach a better understanding of the interrelationship of economic development, political evolution and the advent of cultural pluralism in post-Mao China. This study aims, in other words, to show how the economic and political changes are themselves manifested in the changing reality of the Chinese screen. Author has argued throughout this theses that the emergence of post-Mao Chinese cinema could be seen as a unique process of rehabilitating the notion of "every day life" and "civil society", both of which were heavily suppressed under Mao. This theses has paid special attention to the changing relations of film-makers audience and political authorities in China. The examination of how film censorship works has revealed the complexity of China's political and economic situation and dilemma. Market forces have helped the film-making to be able to sever its ties with the party without seeming politically offensive or provocative. The legitimate and politically favourable "market forces" have made the Chinese film-making equally legitimate to rehabilitate and revive the notion and fundamental elements of human life that a market economy could not survive without.
APA, Harvard, Vancouver, ISO, and other styles
2

Zhang, Rui. "Feng Xiaogang and Chinese cinema after 1989." Columbus, Ohio : Ohio State University, 2005. http://rave.ohiolink.edu/etdc/view?acc%5Fnum=osu1128836737.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Song, Tingting. "Independent cinema in the Chinese film industry." Thesis, Queensland University of Technology, 2010. https://eprints.qut.edu.au/43448/1/Tingting_Song_Thesis.pdf.

Full text
Abstract:
Chinese independent cinema has developed for more than twenty years. Two sorts of independent cinema exist in China. One is underground cinema, which is produced without official approvals and cannot be circulated in China, and the other are the films which are legally produced by small private film companies and circulated in the domestic film market. This sort of ‘within-system’ independent cinema has played a significant role in the development of Chinese cinema in terms of culture, economics and ideology. In contrast to the amount of comment on underground filmmaking in China, the significance of ‘within-system’ independent cinema has been underestimated by most scholars. This thesis is a study of how political management has determined the development of Chinese independent cinema and how Chinese independent cinema has developed during its various historical trajectories. This study takes media economics as the research approach, and its major methods utilise archive analysis and interviews. The thesis begins with a general review of the definition and business of American independent cinema. Then, after a literature review of Chinese independent cinema, it identifies significant gaps in previous studies and reviews issues of traditional definition and suggests a new definition. After several case studies on the changes in the most famous Chinese directors’ careers, the thesis shows that state studios and private film companies are two essential domestic backers for filmmaking in China. After that, the body of the thesis provides an examination of the development of ‘within-system’ independent cinema. Specifically, three factors: government intervention, the majors’ performance (state studios and, later, the conglomerates) and the market conduct of independent cinema at various points in their trajectories are studied. The key findings of the study are as follows: First, most scholars have overlooked the existence and the significance of within-system Chinese independent cinema. Drawing on an American definition of the independent sector, this thesis proposes a definition of the sector in China: namely, any film that has not been financed, produced, and/or distributed by majors. The thesis also notes important contradictions in applying this definition: i.e. film-making is still dependent on policies that frame industry development. The thesis recognises that major tensions apply to filmmaking in China, which significantly differentiates the Chinese independents from those in the US. Second, the development of Chinese independent cinema is the result the rise of the private sector and the decline of the state studio system. As state studios encountered difficulties the private sector moved forward; consequently the environment improved for independent cinema. Third, before 2003, the film industry in China had little commercialisation. The government controlled independent cinema by means of license and censorship. State studios produced main melody films and Hollywood attracted most of the audiences. Many independent filmmakers focused on commercial films, thus contributing to film commercialisation. Fourth, after 2003, the film industry became increasingly fragmented. The government created distribution and exhibition opportunities for main melody films; conglomerates collaborated with Hong Kong players; Hong Kong co-productions and Hollywood occupied the film market; and small private film companies produced main melody films in order to earn meagre profits. The original contribution of the thesis is to advance the study of Chinese independent cinema. The study suggests a reasonable and practical definition of Chinese independent cinema. It shows how the Chinese government authorities have implemented economic measures to gain ideological control in the film industry. Finally, this the first study on Chinese independent cinema applying a synthesis of economic, political and historical perspectives.
APA, Harvard, Vancouver, ISO, and other styles
4

Pu, Hong. "l’idéologie, la propagande et le cinéma chinois d’animation entre les années 20-70." Thesis, Montpellier 3, 2019. http://www.theses.fr/2019MON30007.

Full text
Abstract:
Les travaux de thèse développe la longue histoire du cinéma chinois d'animation sur la période allant de 1920 à 1977, du début du 20e siècle jusqu'à la fin de la grande révolution culturelle prolétarienne. Le sujet de la thèse est : l’idéologie, la propagande et le cinéma chinois d’animation entre les années 20-70. La problématique s'oriente vers le cinéma chinois d'animation qui s'intègre dans la propagande, l'idéologie ainsi que la politique du pouvoir dans différentes époques, selon une évolution esthétique et artistique. Depuis les premières générations de cinéastes qui imprègnent la plus haute direction politique dans leurs créations cinématographiques. J'ai donc travaillé sur les différents chef d'oeuvres de chaque genre du cinéma chinois d'animation ainsi que sur les travaux de leurs créateurs.Les travaux de recherche ont été rédigés en trois chapitres selon une démarcation de l'histoire de la Chine, qui correspond aux moments historiques importants et aux situations sociales d'enjeux en Chine : la création embryonnaire du cinéma chinois d'animation entre les années 20 et 40 avec l'objectif de décrire le processus amenant la naissance de cinéma chinois d'animation ainsi que les premières fonctions qui en ont été faites, comme arme de propagande ainsi que servir l'idéologie du parti communiste impliqué dans l'animation chinoise pendant la guerre mondiale et la guerre civil. Durant cette période, il y eut plusieurs couts-métrages en noire et blanc qui furent réalisé et produits, y compris le premier long métrage noir et blanc La princesse à l'éventail de Fer en 1941.Après la seconde guerre mondiale, Le cinéma chinois d'animation a été soumis à la seule idéologie omniprésence en Chine - le maoïsme - durant les années 50 60 et 70. Il atteignit son apogée en accompagnement d'une forte création esthétique et artisanale d'une génération de cinéaste toujours irremplaçable aujourd'hui. Il y eut de nouveaux genres du cinéma chinois d'animation qui parurent : comme la première animation en couleur, le papier découpé, le lavis animé, le premier long métrage en couleur - le roi singe. Toutes les animations sont produites par le studio d'art de ShangHai. Malgré que Le Studio d'art de Shanghai devint alors l'usine de production des Gardes Rouges et que le cinéma d'animation chinois fut forcé d'arrêter en raison de la tempête sociale de la Grande Révolution Culturelle Prolétarienne.Les travaux de thèse se conclut sur la fin de la grande révolution culturelle, et du décès du président Mao, avec pour thème des sujets comme : la rééducation des intellectuelles, la bande des quatre, la propagande, l'idolâtrie et les images paradoxales avec dizaines de animations révolutionnaire reflétant la situation sociale de la Chine.J'ai achevé la dernière partie de la thèse avec les difficultés de travail, le mariage le congé maternité et les travaux
The thesis work develops the long history of Chinese animated cinema over the period from 1920 to 1977, from the beginning of the 20th century until the end of the great proletarian cultural revolution. The subject of the thesis is: ideology, propaganda and animated Chinese cinema between the years 20-70. The problem is oriented towards the Chinese animated cinema which is integrated in the propaganda, the ideology as well as the politics of the power in different times, according to an aesthetic and artistic evolution. Since the first generations of filmmakers who permeate the highest political direction in their cinematographic creations. So I worked on the different masterpieces of each genre of Chinese animation and the work of their creators.The research was written in three parts according to a demarcation of the history of China, which corresponds to the important historical moments and societal stakes in China. : the embryonic creation of Chinese animated cinema between the 20s and the 40s with the aim of describing the process leading to the birth of animated Chinese cinema and the first functions that have been made, as a propaganda weapon as well as serve the ideology of the Communist Party involved in Chinese animation during World War and Civil War. During this period, there were several black-and-white feature films made and produced, including the first feature film, Black and White, The Iron Princess in 1941.After the second world war, the Chinese animated cinema was subjected to the only ideology omnipresence in China - Maoism - during the 50s and 70s. It reached its apogee in accompaniment of a strong aesthetic and artisanal creation of a generation of filmmakers still irreplaceable today. There were new genres of animated Chinese cinema that appeared: as the first color animation, the paper cut, the animated wash, the first full-length feature in color - the monkey king. All animations are produced by the SHANGHAI art studio. Although the Shanghai Art Studio then became the production factory of the Red Guards and the Chinese animation cinema was forced to stop because of the social storm of the Cultural Revolution.The thesis work concludes with the end of the great cultural revolution, and the death of President Mao, with topics such as: the rehabilitation of intellectuals, the gang of four, propaganda, idolatry and paradoxical images with dozens of revolutionary animations reflecting the social situation of China.I completed the last part of the thesis with the difficulties of work, marriage, maternity leave and work
APA, Harvard, Vancouver, ISO, and other styles
5

Courage, Tamara V. "Contemporary Chinese independent cinema : urban spaces, mobility, memory." Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/73253/.

Full text
Abstract:
Since the 1990s, Chinese independent cinema has been at the forefront of documenting contemporary realities for marginalised citizens in Mainland China. This began with the New Chinese Documentary Movement and exploded in the mid-late 1990s with the rise of what is called the ‘Urban Generation’ of filmmakers who mix fiction with documentary to make sense of urban transformations at the street level. Now, with the continued expansion of more affordable and portable digital video production, independent filmmakers have moved beyond their local parameters and urban aesthetic styles to explore, represent and imagine new ways to document reality for the everyday citizen. In recent years, scholarship on Chinese independent cinema has acquired greater significance in film studies, insofar as it has devoted itself to the analysis of the historical significance and lasting influence of the New Chinese Documentary Movement and the ‘Urban Generation’. However, in the past decade, increasingly active digital video practices in China have proliferated on the independent film scene, including an increase in amateur and grassroots filmmaking which has embraced realism in multiple and innovative ways through documentary, fiction and experimental films. In this thesis, I will address the question of realism in contemporary Chinese independent cinema, which I argue, remains under-examined and both requires and warrants closer textual analysis. The cultural politics of China’s subaltern voices provides the common thread of this research which is articulated through the tropes of urban spaces, mobility and memory in this alternative filmmaking practice. These films imagine and represent realities through different and original modes of intervention that include performance, self-portraits, re-enactment and participatory filmmaking. In short, my research focuses on film productions from the past decade that challenge China’s official culture but also engage with it, placing it in relief with the ambiguity inherent in representation in film and history.
APA, Harvard, Vancouver, ISO, and other styles
6

Leung, Yee-man Yvonne, and 梁以文. "Ideology and the performance of gender in Chinese cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2002. http://hub.hku.hk/bib/B31953633.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Leung, Yee-man Yvonne. "Ideology and the performance of gender in Chinese cinema." Hong Kong : University of Hong Kong, 2002. http://sunzi.lib.hku.hk/hkuto/record.jsp?B25262038.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Wei, Ti. "Global processes, national responses : Chinese film cultures in transition." Thesis, Loughborough University, 2002. https://dspace.lboro.ac.uk/2134/6903.

Full text
Abstract:
Today's processes of cultural globalization involve three major trends: (I)the global expansion of transnational communications conglomerates; (2) the global implementation of market-oriented cultural policies; and (3) the global diffusion of new communication technologies. These processes have set in motion complicated consequencesa nd prompted a range of national responses.B oth China and Taiwan, the two locations which embody the Asian region's largest cultural formation, have experienced major shifis in their internal political and economic organisation and been significantly influenced by these interlinked global processes since the early 1980s. Taking the national film industries in both locations as a case study, this thesis examines the impact of globalisation on the organisation of national cultural production and distribution, and explores the uses of film in representing shifting conceptions of national culture and identity.
APA, Harvard, Vancouver, ISO, and other styles
9

Zha, Yu 1970. "The mythology of Hero : a study of Chinese national cinema." Thesis, McGill University, 2004. http://digitool.Library.McGill.CA:80/R/?func=dbin-jump-full&object_id=79987.

Full text
Abstract:
As the twentieth century ended with globalization and commercialization, popular culture begins to challenge the dominance of national culture. The Chinese intellectual community tries to defend national culture against the incoming global culture and local cultures. The conflicts between localism and nationalism, and also between globalism and nationalism, are clearly demonstrated in the Hero phenomenon, which basically concerns the unanimous disparagement on director Zhang Yimou's debut martial arts film Hero within the Chinese critics' circle. Through a discursive analysis of the phenomenon, we can see how the conflicts between modernism and postmodernism, between elitism and commercialism shape the landscape of contemporary Chinese culture. In this article, I first seek to understand how modernism evolved into nationalism in China during the last century and what role the intelligentsia played in the process of such evolvement. I further seek to understand why the intellectual community has distaste for popular culture and commercialism. Other research on this topic has linked nationalism to national culture, and localism and globalism to popular culture.
APA, Harvard, Vancouver, ISO, and other styles
10

朱翹瑋 and Kiu-wai Chu. "Constructing ruins: new urban aesthetics in Chinese art and cinema." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2009. http://hub.hku.hk/bib/B43209609.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Books on the topic "Chinese cinema"

1

Wimal, Dissanayake, ed. New Chinese cinema. Hong Kong: Oxford University Press, 1998.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
2

Chinese national cinema. London: Routledge, 2004.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
3

The Chinese cinema book. London: Palgrave Macmillan on behalf of the British Film Institute, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
4

Lim, Song Hwee, and Julian Ward, eds. The Chinese Cinema Book. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-580-0.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Wang, Lingzhen. Chinese women's cinema: Transnational contexts. New York: Columbia University Press, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
6

1979-, Zhu Yun, ed. Historical dictionary of Chinese cinema. Lanham: Scarecrow Press, Inc., 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
7

Ye, Tan. Historical dictionary of Chinese cinema. Lanham: Scarecrow Press, Inc., 2013.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
8

Cornelius, Sheila. New Chinese cinema: Challenging representations. London: Wallflower, 2002.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
9

Chinese women's cinema: Transnational contexts. New York: Columbia University Press, 2011.

Find full text
APA, Harvard, Vancouver, ISO, and other styles
10

Miao, Hui. The Sentimental in Chinese Cinema. Cham: Springer International Publishing, 2022. http://dx.doi.org/10.1007/978-3-030-88330-0.

Full text
APA, Harvard, Vancouver, ISO, and other styles
More sources

Book chapters on the topic "Chinese cinema"

1

Wang, Lingzhen. "Chinese Women's Cinema." In A Companion to Chinese Cinema, 318–45. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch17.

Full text
APA, Harvard, Vancouver, ISO, and other styles
2

Wang, Yiman. "Wartime Cinema." In The Chinese Cinema Book, 65–75. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-580-0_8.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Xihe, Chen. "Chinese Film Scholarship in Chinese." In A Companion to Chinese Cinema, 467–83. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch25.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Xu, Gary G. "Chinese Cinema and Technology." In A Companion to Chinese Cinema, 449–65. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch24.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Wang, Yiman. "Alter-centering Chinese Cinema." In A Companion to Chinese Cinema, 535–51. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch29.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Berry, Chris. "Transnational Chinese Cinema Studies." In The Chinese Cinema Book, 9–16. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-580-0_2.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Fong, Rosa. "Cinema of Displaced Identity." In Contesting British Chinese Culture, 169–93. Cham: Springer International Publishing, 2018. http://dx.doi.org/10.1007/978-3-319-71159-1_10.

Full text
APA, Harvard, Vancouver, ISO, and other styles
8

Braester, Yomi. "Contemporary Mainstream PRC Cinema." In The Chinese Cinema Book, 176–84. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-580-0_20.

Full text
APA, Harvard, Vancouver, ISO, and other styles
9

Yu, Sabrina Qiong. "Vulnerable Chinese Stars." In A Companion to Chinese Cinema, 218–38. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch12.

Full text
APA, Harvard, Vancouver, ISO, and other styles
10

Teo, Stephen. "Film Genre and Chinese Cinema." In A Companion to Chinese Cinema, 284–98. Oxford, UK: Wiley-Blackwell, 2012. http://dx.doi.org/10.1002/9781444355994.ch15.

Full text
APA, Harvard, Vancouver, ISO, and other styles

Conference papers on the topic "Chinese cinema"

1

Xiao, Fu. "SOVIET FILM EXPERTS AND THE "SOVIET EXPERIENCE" IN THE CONSTRUCTION OF NEW CHINESE CINEMA (1949‒1959)." In Chinese Studies in the 21st Century. Buryat State University Publishing Department, 2022. http://dx.doi.org/10.18101/978-5-9793-1802-8-2022-304-316.

Full text
Abstract:
In the 1950s, more than 20 Soviet film experts came to China to assist in the formulation of the "First Five-Year Plan" and the top-level design of the new Chinese film construction, assisted film studios and machinery manufacturing plants to improve their technology, assisted in the preparation of the Beijing Film Academy and participated in teaching, and laid the foundation for the initial formation of the new Chinese film system, technology and education. On this basis, the new Chinese filmmakers successfully inter-nalized the "Soviet experience", which led to a new situation in the construction of new Chinese cinema and promoted the popularization of "people's cinema".
APA, Harvard, Vancouver, ISO, and other styles
2

Xiaokang, Chen. "Nationality and Intersubjectivity of Transnational Chinese Cinema." In 2020 5th International Conference on Humanities Science and Society Development (ICHSSD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200727.181.

Full text
APA, Harvard, Vancouver, ISO, and other styles
3

Lin, Jia, and Lifen Cheng. "The relation between cinema, subtitled series and Spanish learning for Chinese students of Spanish language." In TEEM'18: Sixth International Conference on Technological Ecosystems for Enhancing Multiculturality. New York, NY, USA: ACM, 2018. http://dx.doi.org/10.1145/3284179.3284337.

Full text
APA, Harvard, Vancouver, ISO, and other styles
4

Wang, Zhuo. "The Development of Chinese Cinema Culture and Its Influence on Movie Education at the Present Stage." In 2018 8th International Conference on Social science and Education Research (SSER 2018). Paris, France: Atlantis Press, 2018. http://dx.doi.org/10.2991/sser-18.2018.153.

Full text
APA, Harvard, Vancouver, ISO, and other styles
5

Yuan, Xiaoyan. "Analysis on the New Models of Chinese Cinema Movie Intellectual Property Operation Under the Epidemic Situation." In 4th International Conference on Art Studies: Science, Experience, Education (ICASSEE 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.200907.098.

Full text
APA, Harvard, Vancouver, ISO, and other styles
6

Wu, Sidi. "A Comparison of the Representation of Women in Contemporary Chinese Cinema: The Fifth Generation and the Sixth Generation." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.400.

Full text
APA, Harvard, Vancouver, ISO, and other styles
7

Uya, Yifan. "Vibração colaborativa: A jornada mítica de um menino de carvão." In LINK 2021. Tuwhera Open Access, 2021. http://dx.doi.org/10.24135/link2021.v2i1.119.g190.

Full text
Abstract:
A pesquisa tem como objetivo examinar o conceito de mito das perspectivas psicológicas e estruturais de Carl Jung e Lévi-Strauss, com as reflexões filosóficas de Maurice Merleau-Ponty e Martin Heidegger sobre a fenomenologia e discussões em torno do conceito ocidental da luz simbólica e críticas à postura instrumentalista da tecnologia. A pesquisa argumenta que a criação de mitos é uma forma necessária de tecnologia social, que pode transformar a experiência em valores altruístas a serem realizados no futuro, movidos pelo poder saciável da sabedoria e do conhecimento. Para desenvolver ainda mais essa tecnologia. A pesquisa visita a xamanologia e a fórmula mítica canônica de Lévi-Strauss a respeito da discussão que falta sobre a experiência psicológica e a comunidade. Do ponto de vista do profissional, a pesquisa também desafia a crise epistemológica do dualismo, buscando uma compreensão sistêmica do mito e da criação de mitos, usando os mais recentes métodos aplicados de gestão organizacional sustentável de Joseph M. Coll. A revisão contextual eventualmente levanta a hipótese de uma nova metodologia para a criação de mitos contemporânea, a bricolagem taoísta com um enfoque técnico específico na produção cinematográfica ensaísta. Este projeto conduzido pela prática implica uma jornada de metáforas e significantes relativos à minha história pessoal e experiência. Como um imigrante de primeira geração da Nova Zelândia, originalmente nascido em uma pequena cidade de mineração de carvão no Leste da Mongólia Interior, China, meu autoposicionamento é essencial para o processo de construção de mitos. Com pensamento sistêmico e uma metodologia hipotética, a pesquisa avalia a produção cinematográfica como uma organização de crescimento orgânico, que conta com múltiplas restrições criativas, e fluxos de trabalho algorítmicos, que servem ao estabelecimento estrutural das unidades míticas básicas necessárias. Pragmaticamente, a pesquisa estuda profissionais do cinema como Chris Marker e Adam Curtis e músicos como Elysia Crampton Chuquimia e Howie Lee para explorar criativamente as questões técnicas e teóricas do cinema ensaísta, reexaminando a História e a experiência de uma maneira socialmente consciente. Dando as boas-vindas à minha origem da cultura manchu e chinesa da Mongólia Interior e à complexidade da minha infância, a prática de design se concentrará no processo de crescimento de uma narrativa mitopoética contemporânea específica. Isto leva para um xamã briquete e um deus renascido nas costas de Bixi 赑 赑, um dragão-tartaruga que gosta de nadar no meio do nada, enquanto carrega montanhas nas costas. Este mito pessoal observa e resolve conscientemente o self no cenário da crise do Antropoceno. As representações e os conceitos são encorajados a crescer e se transformar em novas descobertas e autorrealizações, como um processo interno de aprendizagem que ajuda o self e o público a chegar mais perto da voz do inconsciente e das respostas emocionais. Em última análise, a pesquisa capitaliza conceitos contemporâneos para promover a sabedoria da autoaceitação como paz interior. O objetivo é revelar o Tao do mito e da criação de mitos como uma resposta tecnológica para resolver o apelo de David Attenborough por mudanças de paradigma global em seu livro “Uma Vida no Nosso Planeta”.
APA, Harvard, Vancouver, ISO, and other styles

Reports on the topic "Chinese cinema"

1

Lingling Perry, Anna, Juyoung Lee, Rui Li, and Mary Lynn Damhorst. Image, social role and social weight of Chinese women on the cover of Popular Cinema from 1950 to 2012. Ames: Iowa State University, Digital Repository, 2013. http://dx.doi.org/10.31274/itaa_proceedings-180814-810.

Full text
APA, Harvard, Vancouver, ISO, and other styles
You might also be interested in the extended bibliographies on the topic 'Chinese cinema' for particular source types:
Journal articles Dissertations / Theses Books
We offer discounts on all premium plans for authors whose works are included in thematic literature selections. Contact us to get a unique promo code!

To the bibliography