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Journal articles on the topic 'Chinese cinema'

Author: Grafiati

Published: 4 June 2021

Last updated: 24 January 2023

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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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.

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11

Keyser, Anne Sytske, and Han The. "Recent Developments in Chinese Cinema." China Information 7, no. 4 (March 1993): 39–47. http://dx.doi.org/10.1177/0920203x9300700404.

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Keyser, Anne Sytske. "Chinese Cinema: Recent Debates in the Chinese Press." China Information 4, no. 4 (March 1990): 64–71. http://dx.doi.org/10.1177/0920203x9000400407.

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13

Zhang, Yingjin. "Between Shanghai and Hong Kong: The Politics of Chinese Cinemas. By Poshek Fu. [Stanford, CA: Stanford University Press, 2003. 288 pp. £14.95. ISBN 0804745188.]." China Quarterly 180 (December 2004): 1111–12. http://dx.doi.org/10.1017/s030574100432076x.

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Despite its short length (152 pages excluding reference matters), this pioneering study in English of “the Shanghai–Hong Kong nexus” in Chinese cinema succeeds in placing wartime Shanghai and Hong Kong cinemas in specific (albeit not always “proper” as Poshek Fu claims (p. xvi)) institutional and industrial contexts, bringing to light the “humanity” of the filmmakers, the “multiplicity of the historical situations,” and the “complexity of the cultural politics” of filmmaking and film criticism (p. xv). Most impressive of all is Fu's dedication to primary research, reading hard-to-find print materials as well as conducting interviews and watching rare films. The book's incredibly rich information (e.g. studio assets, production costs, ticket prices) will certainly interest scholars of modern Chinese history and culture, and Fu's accessible stories should attract general readers as well.After a preface outlining Fu's aims, chapter one, “Mapping Shanghai cinema under semi-occupation,” traces the rise of Zhang Shankun's Xinhua Company in Shanghai and reveals the ambiguities, contradictions and ironies of “Solitary Island cinema” between 1937 and 1941 – a cinema that defied political boundaries and thrived against odds. Chapter two, “Between nationalism and colonialism,” based on Fu's similarly-titled previous study (in The Cinema of Hong Kong: History, Arts, Identity, edited by Fu and David Desser (2000)), discusses Hong Kong's “double marginality” between “Sinocentric” nationalism and British colonialism, and critiques the “Central Plains syndrome” in Shanghai filmmakers stranded in Hong Kong in the late 1930s. Against the Chinese syndrome, Fu asserts, Cantonese films like Southern Sisters (1940) articulated “a both/and hybridity” constitutive of a new “local consciousness” or emergent identity (p. 87). Chapter three, “The struggle to entertain,” derives from Fu's previous article (“The ambiguity of entertainment: Chinese cinema in Japanese-occupied Shanghai, 1942 to 1945,” Cinema Journal, 37.1 (Fall 1997)) and argues against a binary view of either/or (e.g. resistance/collaboration, patriots/traitors). Fu depicts “occupation cinema” as a space of entertainment for the colonized to “escape from Japanese propaganda” (p. xiv), although the both/and logic also compels him to note the paradox that occupation cinema ultimately “helped normalize and naturalize the everyday violence of the occupation” (p. 131). In an epilogue, “Filming Shanghai in Hong Kong,” Fu goes through the changing political–economic situations in post-war Shanghai and Hong Kong.

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Rao, Shuguang, and Mengqiu Zhu. "Xia Yan and the Chinese School of Film." Journal of Chinese Film Studies 1, no. 2 (November 1, 2021): 263–79. http://dx.doi.org/10.1515/jcfs-2021-0039.

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Abstract A revolutionary, film theorist, and screenwriter, Xia Yan (1900–1995) is known as one of the pioneers of Chinese cinema. Xia’s pursuit of a national style and international status for Chinese cinema and his aspirations for the prosperity of the Chinese nation are in line with the basic ideas and goals of the nascent “Chinese School of Film.” In the context of the under-theorized and problematic production practices of current Chinese cinema, it is high time to revisit Xia’s professional and academic contributions to cinematic art, which shed light on the construction of both the “Chinese School of Film” and “shared aesthetics.”

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Yu, Jiayin. "Chinese Reception of Magic Lantern During the Late Qing Dynasty: Study of the Name Change from Huandeng to Yingxi." Communications in Humanities Research 1, no. 1 (December 21, 2021): 57–62. http://dx.doi.org/10.54254/chr.iceipi.2021216.

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This paper illustrates the changing of Magic Lanterns Chinese name after its landing in China. Magic Lantern, as an ancient precursor of the modern cinema, experienced a long-term development that plays an increasingly important role in our modern life. The change of its Chinese name shows the Chinese perception of this apparatus. People neglected the alternative paths of cinema when the cinema becoming into an entertainment stereotype for the public. This paper will look back to the beginning of the perception history of this apparatus, rethink the history writing method, and try to discover an alternative approach to understand cinema.

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Changsong, Nam Wang, and Rohani Hashim. "How Chinese Youth Cinema Develops? Reviewing Chinese Youth Genre in Mainland China, Taiwan and Hong Kong, 1950s-2000s." GATR Global Journal of Business Social Sciences Review 2, no. 1 (January 13, 2014): 54–67. http://dx.doi.org/10.35609/gjbssr.2014.2.1(7).

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Objective - This study considers Chinese youth cinema as a historical object that represents the gamut of social practices and styles of production. Methodology/Technique - The authors examine the historical development of young people for tracing how different social and historical contexts interpret the Chinese young people's world. Findings - The youth films produced in the major Chinese regions—Mainland China, Taiwan and Hong Kong—illustrate how much social practices dominated the film content and style. For instance, youth genre in Hong Kong, once prevalent in the Cantonese cinema of the mid and late 1960s, blended musical and melodrama by dormant with the rise of martial art films. Novelty - This study attempts to elaborate some films featuring young people in Mainland China, Taiwan and Hong Kong, and to review the histories of youth cinema in these Chinese regions. The Chinese youth film outlines how, in Chinese communities, the category of youth historically functions as a significant site of ideological inscription that displays its struggles towards an idealized future. Type of Paper: Review Keywords : Chinese cinema; Film history; Hong Kong; Mainland China; Taiwan; Youth genre

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17

Nornes, Markus. "Subtitling Calligraphy." Journal of Chinese Film Studies 1, no. 1 (March 12, 2021): 115–33. http://dx.doi.org/10.1515/jcfs-2021-0004.

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Abstract This essay examines a regional, not global, dimension of Chinese cinema: the Chinese character in its brushed form. Calligraphy and cinema have an intimate relationship in East Asia. Indeed, the ubiquity of the brushed word in cinema is one element that actually ties works in Korean, Japanese and Sinophone Asia together as a regional cinema. At the same time, I will explore the very specific difference of Chinese filmmakers’ use of written language. On first glance, cinema and calligraphy would appear as radically different art forms. On second glance, they present themselves as sister arts. Both are art forms built from records of the human body moving in (an absent) time and space. The essay ends with a consideration of subtitling, upon which Chinese cinema’s global dimension is predicated. How does investigating this very problem lead us to rethinking the nature of the cinematic subtitle, which is very much alive―a truly movable type?

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18

Jianghua, Pan, Mao Yu, and Yang Yuan. "Retrospect on Chinese Cinema in 1997." Chinese Education & Society 32, no. 2 (March 1999): 6–22. http://dx.doi.org/10.2753/ced1061-193232026.

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19

Wen, Ji. "Applaud and Acclaim Chinese-Made Cinema." Chinese Sociology & Anthropology 32, no. 1 (October 1999): 70–76. http://dx.doi.org/10.2753/csa0009-4625320170.

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20

Yingjin Zhang. "Transnationalism and Translocality in Chinese Cinema." Cinema Journal 49, no. 3 (2010): 135–39. http://dx.doi.org/10.1353/cj.0.0204.

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21

Yau, Esther C. M. "Chinese Cinema: Exposures, Research, and Change." Asian Cinema 17, no. 1 (March 1, 2006): 81–89. http://dx.doi.org/10.1386/ac.17.1.81_1.

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22

Rawnsley, Ming-yeh T. "Memory, subjectivity and independent Chinese cinema." Historical Journal of Film, Radio and Television 35, no. 3 (July 3, 2015): 537–39. http://dx.doi.org/10.1080/01439685.2015.1059617.

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23

Wilkerson, Douglas. ": Perspectives on Chinese Cinema . Chris Berry." Film Quarterly 46, no. 3 (April 1993): 59–60. http://dx.doi.org/10.1525/fq.1993.46.3.04a00120.

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24

Letteri, Richard. "Deleuze’s “Cinema of the Seer”: Italian Neorealism and New Chinese Cinema." Global Studies Journal 4, no. 2 (2012): 95–106. http://dx.doi.org/10.18848/1835-4432/cgp/v04i02/40771.

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25

Wang, Haizhou. "The Historical Roots and Cultural Core of the Chinese Film School." Journal of Chinese Film Studies 1, no. 1 (March 12, 2021): 101–13. http://dx.doi.org/10.1515/jcfs-2021-2010.

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Abstract Chinese cinema has its own unique features, created through nationally distinct methods. Once revealed, these methods make possible the construction of a unique “Chinese film school.” This article explores the historical development of Chinese film arts in order to uncover general trends along its winding path. While being open to the world, the Chinese film school ultimately returns to traditions in Chinese art as a method to construct a unique theory of Chinese film. This methodology has enabled Chinese films to reflect wider developments in world cinema, while also maintaining distinctive Chinese cultural characteristics.

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Shah, Mudassar Hussain, Muhammad Yaqoub, and Zhang Jingwu. "Post Covid-19 Comparison between Chinese and North American Film Industry: A Systematic Review of the Year 2020 Cinema." Global Strategic & Securities Studies Review VI, no. I (March 30, 2021): 11–19. http://dx.doi.org/10.31703/gsssr.2021(vi-i).02.

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This article analyzes the Chinese post-Covid-19 cinema and compares it with the developments in North American Cinema. Coronavirus disease has significant detrimental effects on the worldwide film industry, and the annual box office of major film industries has seen a severe decline. This study presents the systematic review of the comparison of Chinese and North American Cinema during the year 2020. In this study, researchers have opted for the deductive approach on secondary source data with the keywords “Post Covid-19 Cinema”, “Chinese Film Culture Industry”, “Hollywood”, “Box Office”, and “Film Academy” on google search and consider all the significant sources in this systematic review. The Findings of the study reveal that China has already overtaken North America as the global most extensive box office crown for the first time, showing that in the post-COVID-19 era, the Chinese film industry is indeed among the first to get back on its feet.

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Zhang, Y. "Chinese Documentaries: from Dogma to Polyphony * Sinascape: Contemporary Chinese Cinema." Screen 49, no. 2 (January 1, 2008): 237–41. http://dx.doi.org/10.1093/screen/hjn034.

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Andreyev, Andrey Leonidovich, and Ivan Andreyevich Andreyev. "The Images of China on Russian Screen. A Glance from the Audience." Journal of Flm Arts and Film Studies 5, no. 4 (December 15, 2013): 102–11. http://dx.doi.org/10.17816/vgik54102-111.

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The festival of Chinese cinema held last September in Moscow motivated the authors to make a sociological analysis of certain tendencies in modern Chinese cinema connected with the forming of the image of China as a super power. The article explores the intercommunication of the cultures in cinematic form.

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Rawnsley, Gary D. "Cultural Outreach: Cinema and Soft Power." Journal of Chinese Film Studies 1, no. 1 (March 12, 2021): 187–203. http://dx.doi.org/10.1515/jcfs-2021-0012.

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Abstract This paper introduces soft power as a political construct and thus questions its relevance to cinema. Rather than seeing movies as representatives of soft power in and of themselves, cinema is an instrument whereby soft power is projected – a tool rather than a resource. The paper argues that cinema is an example of “soft power by accident”, meaning that it is best understood as a natural by-product of a cultural creative process for non-political purposes. However, when we analyse Chinese cinema, the boundaries between political and non-political break down, revealing some of the problems and limitations in both Chinese soft power and cultural outreach.

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Duan, Siying. "Thinking, Feeling and Experiencing the “Empty Shot” in Cinema." Film-Philosophy 25, no. 3 (October 2021): 346–61. http://dx.doi.org/10.3366/film.2021.0179.

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This article introduces the unique Asian film technique of the “empty shot” ( kong jingtou 空镜头) from the perspective of Chinese philosophical thought and aesthetics. In Chinese cinema, the “empty shot” is understood as a shot comprised of nonhuman subjects, distinct from both the establishing shot and the cutaway. Perhaps due to the lack of understanding of its philosophical grounding, the “empty shot” has not received much attention in Anglophone film studies, and has been criticized as an overgeneralised concept. This article first relates the “empty shot” to the more widely accepted “pillow shot” in Anglophone studies of Japanese cinema. This article aims to make visible a non-anthropocentric worldview conveyed through the “empty shot”, and to make space for the potentialities of this film device, which may also be found in non-Chinese cinemas. It explains the “empty shot”’s central features: firstly, its visible scenes are imbued with invisible emotion, leaving space for the audience to feel what the characters are feeling. Second, it facilitates the generation of qi or “air” in a film, indicating the circulation of qi in a process of dynamic transformation between “actual” and “virtual”. Thirdly, the “empty shot” communicates with the audience, allowing them to more fully experience natural scenery and to encounter other beings while suspending everyday experiences, existing biases, and the separation between self and other.

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David, Mirela. "Hooligan Sparrow: Representation of sexual assault in Chinese cinema, feminist activism and the limits of #MeToo in China." Asian Cinema 32, no. 1 (April 1, 2021): 55–73. http://dx.doi.org/10.1386/ac_00033_1.

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Hooligan Sparrow breaks with many taboos in Chinese cinema. It is the first internationally acclaimed documentary by a Chinese female director to centre upon investigating the activities of Ye Haiyan, a Chinese sex and women’s rights activist, as well as to address the politically sensitive topic of sexual assault in China. This is the first study to examine the cinematic contributions of Wang Nanfu and Ye Haiyan’s activism and feminist writings posted on Ye’s online social media accounts on Sina Weibo and Twitter. I unpack the power dynamics in this documentary as well as the interplay between the filmmaker’s subjectivity and the female rights activist’s subjectivity. This study also investigates how masculine aesthetic representations of sexual assault in Chinese cinema have blurred the issue of consent and shows how the subjectivities of female directors like Wang Nanfu and Vivian Qu bring more impactful representations of sexual violence in Chinese cinema.

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Qi, Xiangu. "Mahjong, Chinese diaspora cinema and identity construction." East Asian Journal of Popular Culture 7, no. 2 (October 1, 2021): 223–40. http://dx.doi.org/10.1386/eapc_00050_1.

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Through a comparative study of two films, The Joy Luck Club and Crazy Rich Asians, the article elaborates how Chinese diaspora films use Mahjong’s cinematic symbolism and cultural significations to negotiate Chineseness in different ways. In particular, three differences between the two films are analysed. The first one is the different attitudes of the female protagonists towards Mahjong as well as the Chineseness embodied by it. The second concerns the disparate presences of Mahjong in films made by mainland China-based filmmakers and Chinese diasporic filmmakers due to Mahjong’s differed historical trajectories and sociocultural implications. The last one is about the distinct goals the two film directors set when they employ Mahjong to (re)construct their identity and Chineseness on the part of the Chinese diaspora. This article concludes that Chineseness is not a monolithic and rigid category, but rather a chameleonic formation that is contextually and individually determined; moreover, in the age of globalization when coexistence and interdependence are valued more than mutual-resistance, the dynamic nature of Chineseness necessitates a more hybrid and critical identity framework: in-betweenness.

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Zhongqiang, Jin. "Kentucky Fried Chicken, McDonald's, and Chinese Cinema." Chinese Sociology & Anthropology 32, no. 2 (December 1999): 35–37. http://dx.doi.org/10.2753/csa0009-4625320235.

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Croizier, Ralph, and Paul Clark. "Chinese Cinema: Culture and Politics since 1949." American Historical Review 95, no. 1 (February 1990): 234. http://dx.doi.org/10.2307/2163106.

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Yau, Esther C. M. "International fantasy and the “New Chinese cinema”." Quarterly Review of Film and Video 14, no. 3 (January 1993): 95–107. http://dx.doi.org/10.1080/10509209309361409.

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Hui, Luo. "Theatricality and Cultural Critique in Chinese Cinema." Asian Theatre Journal 25, no. 1 (2007): 122–37. http://dx.doi.org/10.1353/atj.2008.0010.

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Chan, Evans. "Chinese Cinema at the Millennium (Part One)." Asian Cinema 15, no. 1 (March 1, 2004): 90–115. http://dx.doi.org/10.1386/ac.15.1.90_1.

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Hillenbrand, Margaret. "Chromatic expressionism in contemporary Chinese-language cinema." Journal of Chinese Cinemas 6, no. 3 (January 2012): 211–32. http://dx.doi.org/10.1386/jcc.6.3.211_1.

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Rawnsley, Ming-Yeh T. "Chinese Martial Arts Cinema: the Wuxia tradition." Historical Journal of Film, Radio and Television 31, no. 1 (March 2011): 132–34. http://dx.doi.org/10.1080/01439685.2011.553444.

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Musalitina, Evgenia A. "REPRESENTATION OF «AUTHORITY» CONCEPT IN CHINESE CINEMA." Scholarly Notes of Komsomolsk-na-Amure State Technical University 2, no. 37 (March 25, 2019): 54–59. http://dx.doi.org/10.17084/ii-2(37).9.

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41

Kokas, Aynne. "Art, Politics and Commerce in Chinese Cinema." Chinese Journal of Communication 4, no. 3 (September 2011): 375–77. http://dx.doi.org/10.1080/17544750.2011.594567.

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42

Fleming, David H. "Deleuze, the ‘(Si)neo-realist’ Break and the Emergence of Chinese Any-now(here)-spaces." Deleuze Studies 8, no. 4 (November 2014): 509–41. http://dx.doi.org/10.3366/dls.2014.0168.

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By creatively expanding Deleuze's concept of the time-image crystal, I productively fold together and engineer an encounter between two comparable cinematic movements otherwise separated by huge vistas of time and space. Here, I work to plicate the post-war Italian neorealist movement which Deleuze saw inaugurating the modern cinema, with a ‘postsocialist’ mainland Chinese movement that I playfully call ‘(si)neo-realism’. The films of both historical moments formulate comparable break-away cinemas which are often considered moral or socially responsible art cinemas best approached through André Bazin's ‘ontological’ film philosophy lens. By using Deleuze, however, I hope to move beyond these realist discussions to explore how both movements are also fruitfully thought in terms of introducing distinct yet analogous mental relations into the image during historical junctures defined by radically transforming psycho-geographies. Like Deleuze's discussions of neorealism, (si)neo-realism is considered a loose impulse or mode that collectively bears witness to confusing and bewildering mental experiences from within a turbulent period of cultural, ideological and historical upheaval: which demands new ways of perceiving, thinking and acting. Without wanting to fall into a problematic auteur paradigm, I necessarily employ the films of Wang Xiaoshuai as emblematic examples of the wider impulse or trend. Indeed, Wang's films perfectly reify a new ethico-aesthetic form of Chinese cinema marked by a proliferation of new spaces, characters, experiences and narrative structures. Here, I also strive to do what Deleuze did not in his writing upon film, and explore the break-ups, breakdowns and breakthroughs in specific relation to a complex contextual web of political and cinematic ecosystems. Throughout this process I try to put Deleuze to work by using the films and context to re-interrogate and re-evaluate the time-image models as they appear within and across his Cinema books.

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43

Wong, Cindy Hing-Yuk. "'The Chinese Who Never Die': Spectral Chinese and contemporary European cinema." Asian Cinema 23, no. 1 (August 9, 2012): 5–29. http://dx.doi.org/10.1386/ac.23.1.5_1.

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Xia, Zhou, and Yiwen Liu. "Director Guang Chunlan in Conversation." Feminist Media Histories 5, no. 1 (January 1, 2019): 95–112. http://dx.doi.org/10.1525/fmh.2019.5.1.95.

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This interview features Guang Chuanlan, a Sibe director who has been active since 1976. Guang is known for establishing Chinese Muslim cinema made in the Xinjiang autonomous region in socialist China. Many of her films are released and awarded in Arabic countries and in India. Her enduring career exemplifies the key role women filmmakers have played in building Chinese cinema under state-driven film policies. While it is commonly believed that the Fifth Generation (represented by male directors such as Zhang Yimou, Chen Kaige, and Tian Zhuangzhuang) put post–Cultural Revolution Chinese cinema on the international map, Guang's career (along with those of other women directors) compels us to reexamine Chinese film historiography and excavate a more complex constellation, especially with regard to women's authorship in intersection with race/ethnicity and the state, and inter-Asian film interactions based on a shared religion—a dimension oftentimes obscured by the dominant paradigm of East-West internationality.

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Ng, How Wee. "Boo Junfeng on funding, festivals and Chinese privilege." Asian Cinema 31, no. 1 (April 1, 2020): 131–37. http://dx.doi.org/10.1386/ac_00018_7.

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The interview was motivated by an interest in exploring how Singapore film directors perceive the three major Chinese cinema awards, mainly the Golden Horse Awards (GHA), Hong Kong Film Awards (HKFA) and Golden Rooster Awards (GRA), and what they might signify for Singapore cinema, especially for a nation that is predominantly ethnic Chinese. Amongst the directors interviewed, Boo Junfeng went beyond to share his views on film education, funding and the implications of racial politics and ethnic privilege underlying the nomination for international film awards.

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Mitchell, Tony. "Migration, Memory and Hong Kong as a 'Space of Transit' in Clara Law's Autumn Moon." Cultural Studies Review 9, no. 1 (September 13, 2013): 139–58. http://dx.doi.org/10.5130/csr.v9i1.3589.

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Macau-born and Melbourne-based film maker Clara Law and her screenwriter-producer-director husband Eddie Fong have produced a transnational output of films which are beginning to receive critical recognition as major contributions to contemporary cinema. These ‘films of migration’ explore what Gina Marchetti has encapsulated as ‘the Chinese experience of dislocation, relocation, emigration, immigration, cultural hybridity, migrancy, exile, and nomadism—together termed the “Chinese diaspora”’. The self-imposed ‘relocation’ of Law and Fong to Australia in 1994 was the result of increasing frustration with the rampantly commercial imperatives of Hong Kong cinema and its lack of appreciation for the auteur cinema they wanted to pursue.

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Xiao, Zhiwei. "Building a New China in Cinema: The Chinese Left-wing Cinema Movement, 1932–1937. By Laikwan Pang. [Lanham, MD, Boulder, New York and Oxford: Rowman and Littlefield, 2002. xvi+279 pp. £22.95. ISBN 0-7425-0946-X.]." China Quarterly 175 (September 2003): 844–46. http://dx.doi.org/10.1017/s0305741003330474.

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As the first monograph on the Chinese left-wing cinema movement published in English, this book makes a significant contribution to the growing literature on pre-1949 Chinese film. Based on extensive research in both primary and secondary sources, Pang traces the historical development of the leftist cinema movement and makes several insightful observations about 1930s film culture in China in general and the leftist cinema movement in particular. She argues that during the 1930s, a group of Chinese filmmakers, despite their individual differences in social and political backgrounds, shared some common understandings about the social mission of the film medium and visions of modernity and nationhood, which resulted in a body of films that was coloured by a leftist orientation. Pang argues that some of the unique features of those films were continuously visible in the 1940s (pp. 231–238).

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Wilkerson, Douglas. "Review: Perspectives on Chinese Cinema by Chris Berry." Film Quarterly 46, no. 3 (1993): 59–60. http://dx.doi.org/10.2307/1212908.

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MA, Yuxin. "Technology transcending ideologies: Chinese cinema technicians at Manying." Journal of Modern Chinese History 14, no. 2 (July 2, 2020): 300–328. http://dx.doi.org/10.1080/17535654.2020.1845519.

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김영미. "Image Composition and Naratives of Contemporary Chinese Cinema." China Studies 53, no. ll (November 2011): 3–21. http://dx.doi.org/10.18077/chss.2011.53..001.

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