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A pioneer investigation of Chinese cinema and the Chinese film industry.
In Chinese Cinema: Identity, Power, and Globalization, a variety of scholars explore the history, aesthetics, and politics of Chinese cinema as the Chinese film industry grapples with its place as the second-largest film industry in the world. Exploring the various ways that Chinese cinema engages with global politics, market forces, and film cultures, this edited volume places Chinese cinema against an array of contexts informing the contours of Chinese cinema today. The book also demonstrates that Chinese cinema in the global context is informed by the intersections and tensions found in Chinese and world politics, national and international co-productions, the local and global in representing Chineseness, and the lived experiences of social and political movements versus screened politics in Chinese film culture.

  • Acknowledgments(第vii頁)
  • Introduction Jeff Kyong-McClain, Russell Meeuf, and Jing Jing Chang(第1頁)
  • Part I. Politics and Dissent in Global Contexts(第17頁)
    • 1. Seeing (through) the Struggle Sessions : Cinema, Recycling, and Transnational Circulation Belinda Q. He(第19頁)
    • 2. Screening Politics in Hong Kong Joseph Tse-Hei Lee(第41頁)
    • 3.“All of Us Are Part of the Monster” : Toxic Sublimity and Ethical Reflexivity in Zhao Liang’s Behemoth Man-Fung Yip(第58頁)
  • Part II. Audiences and Reception in Transnational Contexts(第77頁)
    • 4. From Gone with the Wind to The Spring River Flows East: Melodrama and Historical Imagination in Postwar Chinese Cinema Kenny Kwok Kwan Ng(第79頁)
    • 5. Spatial Perception: The Aesthetics of Yijing in Transnational Kung Fu Films Xi W. Liu(第97頁)
    • 6. Global Network, Ecocinema, and Chinese Contexts: Wolf Totem as a Successful Model of Transnational Coproduction Wendy Su(第113頁)
  • Part III. Globalization and Chinese Identities(第129頁)
    • 7. The Sound of Chinese Urban Cinema: Multilingualism and the Re-globalization of Shanghai in the 1990s Lin Feng(第131頁)
    • 8. Sound, Allusion, and the “Wandering Songstress” in Royston Tan’s Films Alison M. Groppe(第152頁)
    • 9. Implicit Sexuality : The Representation of the Femme Fatale Figure in Black Coal, Thin Ice Yushi Hou(第169頁)
  • Part IV. Film Markets and Financial Reform(第183頁)
    • 10. The China Film Co., Ltd. and the Stock Market : Financialization with Chinese Characteristics Shiying Liu(第185頁)
    • 11. Big Shot’s Funeral : Sino-Foreign Collaboration and Industrial Commercialization Qi Ai(第204頁)
    • 12. Sticks, Not Carrots : The Discourse of Soft Power in Popular Chinese Cinema Katherine Chu(第223頁)
  • Epilogue Po-Shek Fu and Stanley Rosen(第242頁)
  • List of Contributors(第249頁)
  • Index(第253頁)
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租期14天
今日租書可閱讀至2024-08-08
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