Relevant bibliographies by topics / Ethnography and contemporary Chinese cinema

Academic literature on the topic 'Ethnography and contemporary Chinese cinema'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Ethnography and contemporary Chinese cinema"

1

Blum, Susan D., and Rey Chow. "Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema." Philosophy East and West 47, no. 3 (July 1997): 435. http://dx.doi.org/10.2307/1399915.

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Hillenbrand, Margaret. "Chromatic expressionism in contemporary Chinese-language cinema." Journal of Chinese Cinemas 6, no. 3 (January 2012): 211–32. http://dx.doi.org/10.1386/jcc.6.3.211_1.

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Zhang, Y. "Chinese Documentaries: from Dogma to Polyphony * Sinascape: Contemporary Chinese Cinema." Screen 49, no. 2 (January 1, 2008): 237–41. http://dx.doi.org/10.1093/screen/hjn034.

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김영미. "Image Composition and Naratives of Contemporary Chinese Cinema." China Studies 53, no. ll (November 2011): 3–21. http://dx.doi.org/10.18077/chss.2011.53..001.

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Wicks, James. "Young Rebels in Contemporary Chinese Cinema. Zhou Xuelin." China Journal 61 (January 2009): 196–97. http://dx.doi.org/10.1086/tcj.61.20648076.

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Jinhua, D. "Invisible Women: Contemporary Chinese Cinema and Women's Film." positions: east asia cultures critique 3, no. 1 (March 1, 1995): 255–80. http://dx.doi.org/10.1215/10679847-3-1-255.

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Wong, Cindy Hing-Yuk. "'The Chinese Who Never Die': Spectral Chinese and contemporary European cinema." Asian Cinema 23, no. 1 (August 9, 2012): 5–29. http://dx.doi.org/10.1386/ac.23.1.5_1.

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McGrath, Jason. "Suppositionality, Virtuality, and Chinese Cinema." boundary 2 49, no. 1 (February 1, 2022): 263–92. http://dx.doi.org/10.1215/01903659-9615487.

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In Chinese performance arts, one thing that was largely abandoned in the shift from traditional drama to motion pictures was the suppositionality of Chinese operatic performance, and the transition to digital cinema, particularly in the case of big-budget blockbusters that compete for mass audiences in greater China as well as abroad, raises the question of if and how an aesthetic of suppositionality is related to the emerging virtual realism enabled by computer-generated imagery (CGI). The concept of suppositionality not only helps us to evaluate how contemporary Chinese animation and CGI blockbusters remediate premodern cultural narratives but also provides an analytical measure for approaching the growing phenomenon of motion capture and composited performances. The “virtual realism” of CGI frees Chinese filmmakers to reject the ontological realism of photography and instead favor an aggressively animated style of visual effects while returning actors to a reprise of the suppositional performance style of traditional opera.
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Lent, John A., Wang Renying, and Yuheng Bao. "Contemporary Chinese Cinema: A Chronicle of Events: 1978 - 2000." Asian Cinema 11, no. 2 (September 1, 2000): 167–78. http://dx.doi.org/10.1386/ac.11.2.167_7.

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Yan, Haiping. "Intermedial moments: An embodied turn in contemporary Chinese cinema." Journal of Chinese Cinemas 7, no. 1 (January 2013): 41–61. http://dx.doi.org/10.1386/jcc.7.1.41_1.

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Dissertations / Theses on the topic "Ethnography and contemporary Chinese cinema"

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Courage, Tamara V. "Contemporary Chinese independent cinema : urban spaces, mobility, memory." Thesis, University of Reading, 2017. http://centaur.reading.ac.uk/73253/.

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Since the 1990s, Chinese independent cinema has been at the forefront of documenting contemporary realities for marginalised citizens in Mainland China. This began with the New Chinese Documentary Movement and exploded in the mid-late 1990s with the rise of what is called the ‘Urban Generation’ of filmmakers who mix fiction with documentary to make sense of urban transformations at the street level. Now, with the continued expansion of more affordable and portable digital video production, independent filmmakers have moved beyond their local parameters and urban aesthetic styles to explore, represent and imagine new ways to document reality for the everyday citizen. In recent years, scholarship on Chinese independent cinema has acquired greater significance in film studies, insofar as it has devoted itself to the analysis of the historical significance and lasting influence of the New Chinese Documentary Movement and the ‘Urban Generation’. However, in the past decade, increasingly active digital video practices in China have proliferated on the independent film scene, including an increase in amateur and grassroots filmmaking which has embraced realism in multiple and innovative ways through documentary, fiction and experimental films. In this thesis, I will address the question of realism in contemporary Chinese independent cinema, which I argue, remains under-examined and both requires and warrants closer textual analysis. The cultural politics of China’s subaltern voices provides the common thread of this research which is articulated through the tropes of urban spaces, mobility and memory in this alternative filmmaking practice. These films imagine and represent realities through different and original modes of intervention that include performance, self-portraits, re-enactment and participatory filmmaking. In short, my research focuses on film productions from the past decade that challenge China’s official culture but also engage with it, placing it in relief with the ambiguity inherent in representation in film and history.
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Nie, Jing. "Contemporary Chinese Cinema: Fifth Generation films, urban films, and Sixth Generation films." Ohio : Ohio University, 2003. http://www.ohiolink.edu/etd/view.cgi?ohiou1061419663.

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Williams, Louise Ann. "Masculinity on the run : history, nation and subjectivity in contemporary mainland Chinese cinema." Thesis, University of Leeds, 2004. http://etheses.whiterose.ac.uk/752/.

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The study investigates representations of masculinities in modern Mainland Chinese cinema from the early reform period to the year 2000. It argues that masculinities from this era are `on the run'; that is, male protagonists' ambiguous relationships with dominant discourses of nation, history and new formulations of subjectivity cause them either to flee from Maoist collective identity categories or more actively to move towards discourses of the sovereignty of the individual brought into China with the `opening up' policies enacted after the Chairman's death. The social and cultural upheavals represented in these films create an atmosphere of uncertainty in which little is solid or settled: for example, although filmmakers may represent their male protagonists rushing from ideas of Maoist manhood, these ambitions and identity figurations, active in the public imagination for so long, still structure male identity, and even male rebellion, acting as reins pulling at the individual agency male filmmakers may try so hard to trace on screen. The result is a recent history of representation in which male characters stand as symbols for their nation's central dilemma, as it wavers between a collective past and an unknown (both exciting and threatening) future. Whereas images of women have been analysed (especially those in the Fifth Generation cinema of the 1980s and 1990s), their male counterparts on the Chinese cinema screen have been largely ignored. This study redresses this imbalance and interprets the representation of men on screen through gender theory, cultural studies, and sources on Chinese society. The main chapters of the study concentrate on versions or expressions of masculinities, reflecting a society that has expressed its revolutionary aims through human models. The introduction to each chapter provides a contextualisation of the manner in which masculinities have been configured in other contemporary representational fields and will explain the relevance of the discussed ideas of masculinity in China's recent past. This study contributes both to conceptions of film and gender in China, and will widen the scope of cross-cultural theorisations of masculinities.
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Jiang, Shen. "Nostalgia in Contemporary Chinese Cinema (1993-2008): A Reflection of China's Socio-Cultural Postmodernity." Thesis, University of Canterbury. Humanities, 2010. http://hdl.handle.net/10092/5142.

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Since Deng Xiaoping's "South Tour Speech" which he delivered during his inspection of special economic region in southern China in 1992, China's reforms and opening-up have entered a period of stable and rapid development. These undoubtedly are driving a comprehensive range of areas of social transition in Chinese society, including state affairs, social activities, mass culture, and globalization. All these factors may have a significant impact on the situation of Chinese film, but in the meantime, local cinema will inevitably present contemporary China and its social culture in a certain way. This thesis chooses a period of time from 1993 to 2008 and examines "nostalgia", a unique area of contemporary Chinese cinema, as its basis for discussion. In the light of Western and postmodern cultural theories, this study aims to explore the current state of nostalgia film and its postmodern elements in China and to extend the discussion to social areas and cultural studies. The conclusion reached by the discussion includes two major aspects. First, through historical reconstruction and superficial pastiche, China's past (or its nostalgia) has inevitably presented certain distortions when facing the global mass cult and Chinese communist leitmotiv ideology. Second, contemporary China has reached the stage of a visually featured, postmodern consumer society.
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Bertozzi, Eddie. "One step forward into reality : transvergent reconfigurations of the Jishizhuyi style in contemporary Chinese cinema." Thesis, SOAS, University of London, 2014. http://eprints.soas.ac.uk/20333/.

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This dissertation examines the stylistic evolution of one specific brand of film realism in contemporary Chinese cinema: the so-called jishizhuyi style ('on-the-spot' realism). In particular, the project focuses on the process of progressive aestheticisation that has affected this style since the turn of the twenty-first century, and the resulting development of a number of transgressive aesthetic features. In the first place, this study rethinks the assumptions of objectivity and spontaneity that conventionally characterise the practice and understanding of jishizhuyi. Hence, through the analysis of relevant case studies, the dissertation discusses the evolution of two main tendencies that show an increasingly subjective approach to the jishizhuyi style: the adoption of hyperrealist and supernatural visual elements - in films such as Suzhou River, Shanghai Panic, Welcome to Destination Shanghai, The World, and Still Life - and the purposeful interplay of fiction and non-fiction - in works such as Disorder, Oxhide, Oxhide II, 24 City, and The Ditch. The dissertation contends that, albeit challenging to conventional understandings of realism, these aesthetics do not invalidate, but rather redefine the meaning and practice of film realism in relation to the specificities of China's contemporary historical framework. To investigate this topic, the project applies the 'cinema of transvergence' paradigm to Chinese film studies for the first time. This is understood as a transformative theoretical model that accounts for the evolution of film styles in a flexible manner. The discussion further combines a variety of interdisciplinary theories, ranging from magical realism to documentary performativity, in order to fulfil a formal and critical analysis of a stylistic phenomenon that has hitherto lacked a comprehensive systematisation in academic scholarship.
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Hao, Yiren. "The Ever-changing Roles of Chinese Women in Society: A Content Analysis and Semiotic Analysis of some Contemporary Chinese Films." Thèse, Université d'Ottawa / University of Ottawa, 2011. http://hdl.handle.net/10393/20481.

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One major question in the area of Feminist Media Studies is to analyze the stereotypical female role portrayals in media. Researchers in this area have examined diverse media including television, radio, films, textbooks, literature and so on. Empirical evidence provided by these studies shows that women in media are often underrepresented or stereotypically portrayed in traditional roles such as housewives or mothers associated with feminine values, such as dependent, submissive, and passive. Using content analysis and semiotic analysis, this study is designed to examine the portrayals of female roles in a sample of contemporary (1949-2010) Chinese films. Content analysis is employed to examine how women have been portrayed in films, with the primary focus on the frequency of three types of female roles including (1) traditional roles, (2) modern role, and (3) ideal role. Results suggest that during this long period of time, representations and constructions of women in films have shifted from promotion of gender equality, to diminishing and erasing gender difference, and finally regressed to confining them to traditional roles while emphasizing traditional feminine values and expectations. In using semiotic analysis, this research is able to outline the connotative meanings of the female characters as well as the implicit cultural values and messages of gender that are embedded in films. On this cultural analysis, the findings reveal that female role portrayals in films, which are influenced by political, cultural, and social changes, remained associated with traditional feminine stereotypes, values, and expectations.
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Gilgan, Sandra [Verfasser]. "Imaginaries of a better Chinese society enacted in the revival of Confucian education : An ethnography of living and learning in contemporary classics reading education dujing jiaoyu / Sandra Gilgan." Bonn : Universitäts- und Landesbibliothek Bonn, 2020. http://d-nb.info/1219168963/34.

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Chang, Hsin-Ning. "Unfolding Time to Configure a Collective Entity: Alternative Digital Movies as Malaysian National Cinema." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1490956487498085.

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Randall, William Sanford. "How Methane Made the Mountain: The Material Ghost and the Technological Sublime in Methane Ghosts." The Ohio State University, 2016. http://rave.ohiolink.edu/etdc/view?acc_num=osu1460722538.

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Li, Qi. "Les ruines dans le cinéma chinois contemporain." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA030/document.

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L’image des ruines est quasi absente dans l’art traditionnel en Chine. Mais l’usine abandonnée et le bâtiment démoli sont régulièrement présents dans le cinéma chinois contemporain depuis la des années 90. À plusieurs reprises, Jia Zhang-ke s’est inspiré du champ de ruines tandis que Wang Bing a exprimé la nostalgie pour le vieux quartier à Shenyang dans une interview à propos d’À l’Ouest des rails. De leur côté, Wang Quan’an, Wang Chao, Lou Ye, Zhang Yang racontent souvent les histoires dans le contexte de la grande vague d’urbanisation du pays. L’image des ruines, comme symptôme, est surdéterminée dans leurs films.Ce travail tente d’analyser l’esthétique des ruines par la pensée de l’anachronisme. Dans l’image filmique, le champ de ruines et le chantier ne sont ni les simples fétiches intemporels, ni les simples chroniques figuratives. Ils sont des montages de temporalités différentes par lesquels on peut entrevoir l’écheveau de notions hétérogènes, des symptômes qui font apparaître le pouvoir impérial de la Chine ancienne, des désirs de la fuite hors du monde quotidien
The image of the ruins is almost absent in the traditional Chinese art. But the demolished building and the abandoned factory have become the most important urban landscape in the contemporary Chinese cinema since the late 1990s. The field of ruins inspired Jia Zhang-ke to write screenplays for films and Wang Bing expressed nostalgia about the old district of Shenyang during an interview. On their side, lots of filmmakers are interested in social realty in the context of urbanization. So the image of the ruins is overdetermined as a symptom in their films. This thesis is trying to analyse the esthetic value of the ruins by using the idea of anachronism. In the image of film, the field of ruins and the construction site are neither the timeless simple fetishes nor the figurative chronicles. They are some montages of different time zones, through which a mixture of ideas can be seen. They are some symptoms which can show the imperial power of the old China. They are finally some desires for escape from the concrete life-world
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Books on the topic "Ethnography and contemporary Chinese cinema"

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Chow, Rey. Primitive passions: Visuality, sexuality, ethnography, and contemporary Chinese cinema. New York: Columbia University Press, 1995.

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Zhou, Xuelin. Globalization and Contemporary Chinese Cinema. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4328-4.

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Zhou, Zhiping. Readings in contemporary Chinese cinema: A textbook of advanced modern Chinese. Princeton, NJ: Princeton University Press, 2007.

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Zhiping, Zhou. Readings in contemporary Chinese cinema: A textbook of advanced modern Chinese. Princeton, NJ: Princeton University Press, 2007.

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Zhiping, Zhou. Readings in contemporary Chinese cinema: A textbook of advanced modern Chinese. Princeton, NJ: Princeton University Press, 2007.

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China into film: Frames of reference in contemporary Chinese cinema. London: Reaktion Books, 1999.

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Zhongguo dang dai dian ying shi: The history of contemporary Chinese cinema. Beijing: Zhongguo dian ying chu ban she, 2011.

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Business and bureaucracy in a Chinese city: An ethnography of private business households in contemporary China. Berkeley: Institute of East Asian Studies, University of California, Berkeley, 1993.

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Screening China: Critical interventions, cinematic reconfigurations, and the transnational imaginary in contemporary Chinese cinema. Ann Arbor: Center for Chinese Studies, University of Michigan, 2002.

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Screening China: Critical interventions, cinematic reconfigurations, and the transnational imaginary in contemporary Chinese cinema. Ann Arbor, MI: Center for Chinese Studies, University of Michigan, 2003.

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Book chapters on the topic "Ethnography and contemporary Chinese cinema"

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Braester, Yomi. "Contemporary Mainstream PRC Cinema." In The Chinese Cinema Book, 176–84. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-580-0_20.

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Chan, Kenneth. "The Contemporary Wuxia Revival." In The Chinese Cinema Book, 150–57. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-580-0_17.

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Ciecko, Anne. "Contemporary Meta-Chinese Film Stardom and Transnational Transmedia Celebrity." In The Chinese Cinema Book, 185–93. London: British Film Institute, 2011. http://dx.doi.org/10.1007/978-1-84457-580-0_21.

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Zhou, Xuelin. "Modernity and Globalization." In Globalization and Contemporary Chinese Cinema, 1–7. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4328-4_1.

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Zhou, Xuelin. "Codename Cougar: Politics or Entertainment?" In Globalization and Contemporary Chinese Cinema, 9–33. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4328-4_2.

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Zhou, Xuelin. "(Young) Heroes in a “Cursed” House." In Globalization and Contemporary Chinese Cinema, 35–56. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4328-4_3.

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Zhou, Xuelin. "Between National and International." In Globalization and Contemporary Chinese Cinema, 57–83. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4328-4_4.

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Zhou, Xuelin. "Staging China: The Art of Yijing." In Globalization and Contemporary Chinese Cinema, 85–114. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4328-4_5.

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Zhou, Xuelin. "Conclusion." In Globalization and Contemporary Chinese Cinema, 115–21. Singapore: Springer Singapore, 2017. http://dx.doi.org/10.1007/978-981-10-4328-4_6.

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Zhang, Yingjin. "The cinematic and the real in contemporary Chinese cinema." In The Routledge Companion to World Cinema, 23–32. New York : Routledge, 2017.: Routledge, 2017. http://dx.doi.org/10.4324/9781315688251-2.

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Conference papers on the topic "Ethnography and contemporary Chinese cinema"

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Wu, Sidi. "A Comparison of the Representation of Women in Contemporary Chinese Cinema: The Fifth Generation and the Sixth Generation." In proceedings of the 2nd International Conference on Literature, Art and Human Development (ICLAHD 2020). Paris, France: Atlantis Press, 2020. http://dx.doi.org/10.2991/assehr.k.201215.400.

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