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A Companion to Chinese Cinema features a collection of original readings that offer a comprehensive overview of the evolution and current state of Chinese cinema. Essays consider Chinese cinema from a variety of historical and geo-political centers—Shanghai, Hong Kong, and Taiwan—and offer a critical examination of major accomplishments of Chinese film studies in various categories—film history and geography, industry and institution, media and arts, genre and representation, issues and debates.

This collaborative project brings together specialists across a range of disciplines to consider Chinese cinema from a variety of methodological approaches and theoretical frameworks. This interdisciplinary approach allows for an unprecedented breadth of innovative ideas that facilitate a better understanding of Chinese cinema as it relates to artistic projects, social practices, political institutions, and expanding international markets. A Companion to Chinese Cinema offers an important analysis of a growing force in international cinema.

Yingjin Zhang is Professor of Comparative Literature and Cultural Studies at University of California, San Diego, and Visiting Chair Professor at Shanghai Jiaotong University, China. He is the author of The City in Modern Chinese Literature and Film (1996), Screening China (2002), Chinese National Cinema (2004), and Cinema, Space, and Polylocality in a Globalizing China (2010); co-author of Encyclopedia of Chinese Film (1998); editor of China in a Polycentric World (1998) and Cinema and Urban Culture in Shanghai, 1922-1943 (1999); and co-editor of From Underground to Independent (2006) and Chinese Film Stars (2010).

Acknowledgments viii
List of Figures ix
List of Tables xiii
List of Contributors xiv
1 General Introduction 1
Yingjin Zhang
Part I History and Geography 23
2 Transplanting Melodrama: Observations on the Emergence of Early Chinese Narrative Film 25
Zhang Zhen
3 Artists, Cadres, and Audiences: Chinese Socialist Cinema, 1949–1978 42
Paul Clark
4 Directors, Aesthetics, Genres: Chinese Postsocialist Cinema, 1979–2010 57
Yingjin Zhang
5 Hong Kong Cinema Before 1980 75
Robert Chi
6 The Hong Kong New Wave 95
Gina Marchetti
7 Gender Negotiation in Song Cunshou’s Story of Mother and Taiwan Cinema of the Early 1970s 118
James Wicks
8 Second Coming: The Legacy of Taiwan New Cinema 133
Darrell William Davis
Part II Industry and Institution 151
9 Propaganda and Censorship in Chinese Cinema 153
Matthew D. Johnson
10 Chinese Media Capital in Global Context 179
Michael Curtin
11 Film and Society in China: The Logic of the Market 197
Stanley Rosen
12 Vulnerable Chinese Stars: From Xizi to Film Worker 218
Sabrina Qiong Yu
13 Ports of Entry: Mapping Chinese Cinema’s Multiple Trajectories at International Film Festivals 239
Nikki J. Y. Lee and Julian Stringer
Part III Genre and Representation 263
14 In Search of Chinese Film Style(s) and Technique(s) 265
James Udden
15 Film Genre and Chinese Cinema: A Discourse of Film and Nation 284
Stephen Teo
16 Performing Documentation: Wu Wenguang and the Performative Turn of New Chinese Documentary 299
Qi Wang
17 Chinese Women’s Cinema 318
Lingzhen Wang
18 From Urban Films to Urban Cinema: The Emergence of a Critical Concept 346
Yomi Braester
Part IV Arts and Media 359
19 The Intertwinement of Chinese Film and Literature: Choices and Strategies in Adaptations 361
Liyan Qin
20 Diary of a Homecoming: (Dis-)Inhabiting the Theatrical in Postwar Shanghai Cinema 377
Weihong Bao
21 Cinema and the Visual Arts of China 400
Jerome Silbergeld
22 From Mountain Songs to Silvery Moonlight: Some Notes on Music in Chinese Cinema 417
Jerome Silbergeld
23 Cross-Fertilization in Chinese Cinema and Television: A Strategic Turn in Cultural Policy 429
Ying Zhu and Bruce Robinson
24 Chinese Cinema and Technology 449
Gary G. Xu
Part V Issues and Debates 467
25 Chinese Film Scholarship in Chinese 469
Chen Xihe
26 Chinese Film Scholarship in English 484
Chris Berry
27 The Return of the Repressed: Masculinity and Sexuality Reconsidered 499
Shuqin Cui
28 Homosexuality and Queer Aesthetics 518
Helen Hok-Sze Leung
29 Alter-centering Chinese Cinema: The Diasporic Formation 535
Yiman Wang
30 The Absent American: Figuring the United States in Chinese Cinema of the Reform Era 552
Michael Berry
Bibliography 575
Filmography 628
Index 655
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