The Chinese Cinema Book

Song Hwee Lim is a professor in the Department of Cultural and Religious Studies at The Chinese University of Hong Kong (CUHK), China. He is an Honorary Research Fellow at the University of Exeter, UK. Lim is the author of Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas (2006), and Tsai Ming-liang and a Cinema of Slowness (2014). He is the co-editor of the first edition of The Chinese Cinema Book (BFI, 2011) and of Remapping World Cinema: Identity, Culture and Politics in Film (2006), and a founding editor of the peer-reviewed Journal of Chinese Cinemas as well as being the Principal Investigator of an international networks project “Chinese Cinemas in the 21st Century: Production, Consumption, Imagination” funded by the Leverhulme Trust (UK) between 2012 and 2013. He has held visiting fellowships at Academia Sinica (Taiwan), Free University Berlin, National Chiao Tung University (Taiwan), and National University of Singapore, and has delivered keynote lectures in Australia, Britain and China. Julian Ward is a senior lecturer in Chinese in the department of Asian Studies at the University of Edinburgh, UK. He is an associate editor of the Journal of Chinese Cinemas, co-author of The Rough Guide to Mandarin Chinese (2006) and co-editor of the first edition of The Chinese Cinema Book (BFI, 2011).

Introduction“The Coming of Age of Chinese Cinemas Studies” Song Hwee Lim, Chinese University of Hong Kong, China, and Julian Ward, University of Edinburgh, UK

Preface to Revised Edition
Song Hwee Lim, Chinese University of Hong Kong, China, and Julian Ward, University of Edinburgh, UK

Section I: Territories, Trajectories, Historiographies

Chapter 1, “Transnational Chinese Film Studies”
Chris Berry, King’s College London, UK

Chapter 2, “National Cinema as Translocal Practice: reflections on Chinese LFI Historiography”Yingjin Zhang, University of California, San Diego, USA

Chapter 3, “Cinemas of the Chinese Diaspora”
Gina Marchetti, Hong Kong University, China

Chapter 4, “Six Chinese Cinemas in Search of a Historiography”
Song Hwee Lim

Section II: Early Cinema to 1949
Chapter 5, “Shadow Magic and the Lost Decades in Chinese Film History”
Zhiwei Xiao, California State University, San Marcos, and Xuelei Huang, University of Edinburgh, UK

Chapter 6, “The Making of a National Cinema: Shanghai Cinema of the 1930s”
Laikwan Pang, The Chinese University of Hong Kong, China

Chapter 7, “Wartime Cinema: Reconfiguration and Border Navigation”
Yiman Wang, University of California, Santa Cruz, USA

Chapter 8, “Chinese Filmmaking on the eve of the Communist Revolution”
Paul Pickowicz, University of California, San Diego, USA

Section III: The Forgotten Period – 1949-1980
Chapter 9, “The Remodelling of a National Cinema: Chinese film of the Seventeen Years (1949-1966)”
Julian Ward, University of Edinburgh, UK

Chapter 10, “Liminal Cinema: PRC Film Genres of the New Era”
Michael Berry, University of California, Los Angeles, USA

Chapter 11, “Healthy Realism in Taiwan, 1964-1980: Film Style, Cultural Policies and Mandarin Cinema”
Guo-Juin Hong, Duke University, USA

Chapter 12, “The Hong Kong Cantonese Cinema: Emergence, Development and Decline”
Stephen Teo, Nanyang Technological University, Singapore

Section IV: The New Waves
Chapter 13, “The Fifth Generation: A Re-assessment”
Wendy Larson, University of Oregon, USA

Chapter 14, “Taiwan New Cinema Movement and Its Legacy”
Tonglin Lu, University of Montreal, Canada

Chapter 15, “The Hong Kong New Wave: A Critical Reappraisal”
Vivian P. Y. Lee, City University of Hong Kong, China

Chapter 16, “Transnational Chinese-Language Auteurism: Time, Place, Gender”
James Udden, Gettysburg College, Pennsylvania, USA


Section V: Stars, Auteurs and Genres
Chapter 17, “Dragons Forever: Chinese Martial Arts Stars”
Leon Hunt, Brunel University, UK

Chapter 18, “The Contemporary Wuxia Revival: Genre Evolution and the Hollywood Transnational Factor”
Kenneth Chan, University of Northern Colorado, USA

Chapter 19, “Independent Documentary in China, Taiwan, and Hong Kong”Luke Robinson, University of Sussex, UK
Section 6: Industry, Market and TechnologyChapter 20, “Contemporary Mainstream PRC Cinema”Yomi Braester, University of Washington, USA
Chapter 21, “The Urban Generation: Underground and Independent Films from the PRC”
Jason McGrath, University of Minnesota, USA

Chapter 22, “Censorship, Propaganda, and Film Policy”
Matthew Johnson, Taylor’s University, Malaysia

Chapter 23, “Alternative Ways of Seeing: Post-Digital Detours in Chinese Cinema”
Paola Voci, University of Otago, New Zealand

Afterword“Liquidity of Being”
Rey Chow, Duke University, USA

Appendix 1Book-length Studies of Chinese Cinemas in the English Language
Compiled by Wan-Jui Wang, Louise Williams, Li Pin, and Song Hwee Lim

Appendix 2Chinese Film Titles

Appendix 3Chinese Names
Appendix 1
Book-length Studies of Chinese Cinemas in the English Language
Compiled by Wan-Jui Wang, Louise Williams, Li Pin, and Song Hwee Lim

Appendix 2Chinese Film Titles
Appendix 3Chinese Names