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Futures of Chinese Cinema
Technologies and Temporalities in Chinese Screen Cultures
Now Available
Price £25, $35.50
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ISBN 9781841502748
Paperback 288 pages
230x174mm
Published September 2009
Imprint: Intellect
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Books by Olivia Khoo
Books by Sean Metzger
Books in Film Studies

Edited by Olivia Khoo and Sean Metzger
Chapter Titles     |      Reviews     |      Comments

With the burgeoning interest in Chinese film, this interdisciplinary collection investigates how new technologies, changing production constraints and shifting viewing practices have shaped perceptions of Chinese screen cultures.

Futures of Chinese Cinema contains essays by international scholars considering new directions in Chinese cinema. After the devastation of the economic crisis, the uncertainty of the Hong Kong handover and the events at Tiananmen Square in 1989, the late twentieth century and beyond has seen the emergence of a number of fresh new works from the region’s film-makers. For the first time, scholars from film studies, media studies, history and sociology have been brought together in their focus on the concepts of technology and temporality in these films.


The book is innovative in its approach by arguing for a broadening of Chinese screen cultures to account for new technologies of screening – from computers and digital video to smaller screens (including mobile phones). It also examines time and technology in both popular blockbusters and independent, art films.


Chapters cover a wide range of topics in the cinemas of mainland China, Taiwan, Hong Kong and the Chinese diasporas. The book also explores transnational connections, including little discussed Chinese–Japanese and Sino-Soviet interactions.

Chapter titles
Introduction
Sean Metzger and Olivia Khoo
PART I: Historiography
Chapter 1: Celebratory Screens: Chinese Cinema in the New Millennium
Dai Jinhua
Chapter 2: Island of No Return: Cinematic Narration as Retrospection in Wang Tong and New Taiwan Cinema
Guo-Juin Hong
Chapter 3: Socialist Geographies, Internationalist Temporalities and Travelling Film Technologies: Sino-Soviet Film Exchange in the 1950s and 1960s
Tina Mai Chen
Chapter 4: Hong Kong Ghost in the Japanese Shell? Cross-racial Performance and Transnational Chinese Cinema
Kwai-Cheung Lo
Chapter 5: Jia Zhangke and the Temporality of Postsocialist Chinese Cinema: In the Now (and then)
Chris Berry
PART II: Capital – Economic and Industrial Contexts
Chapter 6: From BitTorrent Piracy to Creative Industries: Hong Kong Cinema Emptied Out
Laikwan Pang
Chapter 7: Genre Film, Media Corporations and the Commercialization of the Chinese Film Industry: The Case of ‘New Year Comedies’
Shuyu Kong
Chapter 8: Demand for Cultural Representation: Emerging Independent Film and Video on Lesbian Desires
Denise Tse Shang Tang
PART III: Epistemologies
Chapter 9: The Queer Space of China: Expressive Desire in Stanley Kwan’s Lan Yu
David L. Eng
Chapter 10: Saving Face, or the Future Perfect of Queer Chinese/American Cinema?
Sean Metzger
Chapter 11: Remaking the Past, Interrupting the Present: The Spaces of Technology and Futurity in Contemporary Chinese Blockbusters
Olivia Khoo
Chapter 12: Multiple-screen Realities
Paola Voci
Reviews
'‘A wonderful selection of current scholarship on time and technology in Chinese-language cinema... an essential volume on the bookshelf of everyone working in that field.’' – Dr Gina Marchetti, University of Hong Kong

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