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New Chinese Cinemas analyses the changing forms and significance of filmmaking in the People's Republic of China, Taiwan, and Hong Kong since the end of the Cultural Revolution, with a particular emphasis on how film comments on the profound social changes that have occurred in East Asia over the past two decades. Considering in detail both conservative and progressive stances on economic 'modernisation', it also demonstrates how film has been an important formal structure and social document in the interpretation of these changes. The essays collected here, which were specially commissioned for this volume, also offer extended analyses of the important trends, styles and work that define Chinese filmmaking in the 1980s.
New Chinese Cinemas analyses the changing forms and significance of filmmaking in the People's Republic of China, Taiwan, and Hong Kong since the end of the Cul
Two of the most stylized shots in cinema—the close-up and the long shot—embody distinct attractions. The iconicity of the close-up magnifies the affective p
Zhang Yimou's first film, Red Sorghum, took the Golden Bear Award in 1988 at the Berlin International Film Festival. Since then Chinese films have continued to
Chinese National Cinema, written for students by a leading scholar, traces the formation, negotiation and problematization of the national on the Chinese screen
Ever since film was brought into China at the end of the nineteenth century, translation has conquered language, ideological and cultural barriers and facilitat
