New Chinese Cinemas: Forms, Identities, Politics
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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aesthetic Ann Hui Beijing Black Cannon Incident characters CHINA FILM IMPORT Chinese cinema Chinese culture Chinese film Chinese society Chris Berry classical Communist Confucian contemporary critical Cultural Revolution Deng director discourse Dislocation economic Edward Yang ethical father female Feng figure film's filmmaking flashback genre Girl from Hunan Hibiscus Town historical Homecoming Hong Kong cinema Hong Kong films Hou Hsiao-hsien Huang Jianxin ideology individual Jin's Kong's Long Arm mainland China male melodrama mode modern modernist narration narrative paradigm Party Peking Opera Blues People's Republic period perspective Pickowicz political popular position postmodern postsocialism postsocialist produced protagonist Red Sorghum reform relation relationship representation scene screen sense signifies social socialist system spatial story Taiwan Tian Zhuangzhuang tion traditional Chinese traditional socialist Transmigration Tsui Hark University Press urban viewer viewing subject Wang Western women Xie Jin Yellow Earth Yim Ho Zhang Zhongguo dianying