New Chinese Cinemas: Forms, Identities, Politics

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Cambridge University Press, Feb 23, 1996 - History - 255 pages
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New Chinese Cinemas analyzes 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 modernization, 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.
 

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Contents

Spatiality and Subjectivity in Xie Jins Film Melodrama of New Period
15
Society and Subjectivity On the Political Economy of Chinese Melodrama
40
Huang Jianxin and the Notion of Postsocialism
57
Neither One Thing nor Another Toward a Study of the Viewing Subject and Chinese Cinema in the 1980s
88
Remapping Taipei
117
The Ideology of Initiation The Films of Hou Hsiaohsien
151
The Return of the Father Hong Kong New Wave and Its Chinese Context in the 1980s
160
Border Crossing Mainland Chinas Presence in Hong Kong Cinema
180
Two Films from Hong Kong Parody and Allegory
202
Chronologies
217
Glossary
231
Scholarly Works on Chinese Filmmaking in the 1980
237
Index
249
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About the author (1996)

Nick Browne is Professor of Film at the University of California, Los Angeles, and coeditor of "New Chinese Cinemas: Forms, Identities, Politics" (1994).

Paul G. Pickowicz is Distinguished Professor of History and Chinese Studies at the University of California, San Diego and inaugural holder of the UC San Diego Modern Chinese History Endowed Chair.

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