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Books on the topic 'Ethnography and contemporary Chinese cinema'

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Author: Grafiati
Published: 10 December 2022
Last updated: 28 January 2023

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1

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

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2

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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3

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

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4

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

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5

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

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6

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

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7

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

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8

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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9

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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10

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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11

Jing, Hu, ed. Ying xiang Zhongguo: Dang dai Zhongguo dian ying de pi ping chong gou ji kua guo xiang xiang = Screening China : critical interventions, cinematic reconfigurations, and the transnational imaginary in contemporary Chinese cinema. Shanghai Shi: Shanghai san lian shu dian, 2008.

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12

Itineranti, Catholic Church Pontificio Consiglio della Pastorale per i. Migranti e. gli. Migranti e pastorale d'accoglienza: Quaderni universitari : commenti all'istruzione Erga migrantes caritas christi (II parte). Citt ̉del Vaticano: Libreria Editrice Vaticana, 2006.

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13

Ang, Sylvia. Contesting Chineseness. Nieuwe Prinsengracht 89 1018 VR Amsterdam Nederland: Amsterdam University Press, 2022. http://dx.doi.org/10.5117/9789463722469.

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Nearly eleven million Chinese migrants live outside of China. While many of these faces of China’s globalization headed for the popular Western destinations of the United States, Australia and Canada, others have been lured by the booming Asian economies. Compared with pre-1949 Chinese migrants, most are wealthier, motivated by a variety of concerns beyond economic survival and loyal to the communist regime. The reception of new Chinese migrants, however, has been less than warm in some places. In Singapore, tensions between Singaporean-Chinese and new Chinese arrivals present a puzzle: why are there tensions between ethnic Chinese settlers and new Chinese arrivals despite similarities in phenotype, ancestry and customs? Drawing on rich empirical data from ethnography and digital ethnography, Contesting Chineseness investigates this puzzle and details how ethnic Chinese subjects negotiate their identities in an age of contemporary Chinese migration and China’s ascent.
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14

Wilcox, Phill. Heritage and the Making of Political Legitimacy in Laos. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463727020.

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The Lao People’s Democratic Republic is nearly fifty years old, and one of the few surviving one-party socialist states. Nearly five decades on from its revolutionary birth, the Lao population continues to build futures in and around a political landscape that maintains socialist rhetoric on one hand and capitalist economics on the other. Contemporary Lao politics is marked by the use of cultural heritage as a source of political legitimacy. Researched through long term detailed ethnography in the former royal capital of Luang Prabang, itself a UNESCO recognised World Heritage Site since 1995, this book takes a fresh look at issues of legitimacy, heritage and national identity for different members of the Lao population. It argues that the political system has become sufficiently embedded to avoid imminent risk of collapse but suggests that it is facing new challenges primarily in the form of rising Chinese influence in Laos.
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15

Pollacchi, Elena. Wang Bing's Filmmaking of the China Dream. NL Amsterdam: Amsterdam University Press, 2021. http://dx.doi.org/10.5117/9789463721837.

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This volume offers an organic discussion of Wang Bing's filmmaking across China’s marginal spaces and against the backdrop of the state-sanctioned 'China Dream'. Wang Bing's cinema gives voice to the subaltern. Focusing on contemporary China, his work testifies to a set of issues dealing with inequality, labour, and migration. His internationally awarded documentaries are considered masterpieces with unique aesthetics that bear reference to global film masters. Therefore, this investigation goes beyond the divides between Western and non-Western film traditions and between fiction and documentary cinema. Each chapter takes a different articulation of space (spaces of labour, history, and memory) as its entry point, bringing together film and documentary studies, Chinese studies, and globalization studies. This volume benefits from the author's extensive conversations with Wang Bing and insider observations of film production and the film festival circuit.
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16

Cucinelli, Diego, and Andrea Scibetta, eds. Tracing Pathways 雲路. Florence: Firenze University Press, 2020. http://dx.doi.org/10.36253/978-88-5518-260-7.

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This volume collects contributions written by eight authors interested in different research areas in East Asian Studies. Divided into a Japanese and a Chinese section, it explores topics ranging from East Asian literatures to contact linguistics and sociology. The Japanese section contains four essays about contemporary Japanese cinema and different aspects of Japanese modern and contemporary literature (i.e. the literary motif of kame naku, ‘crying turtle’, yuri manga, and tenkō bungaku, the ‘literature of conversion’). The Chinese section concerns two main macro-topics: on the one hand, it focuses on issues related to cultural contacts between Italy and China; on the other hand, it deals with Chinese migration to Italy, highlighting socio-historical aspects and cultural production.
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17

Sinascape: Contemporary Chinese Cinema. Rowman & Littlefield Publishers, Inc., 2007.

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18

Xu, Gary G. Sinascape: Contemporary Chinese Cinema. Rowman & Littlefield Publishers, Incorporated, 2006.

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19

Sinascape: Contemporary Chinese Cinema. Rowman & Littlefield Publishers, Inc., 2007.

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20

Young Rebels in Contemporary Chinese Cinema. Hong Kong University Press, 2007.

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21

Readings in Contemporary Chinese Cinema: A Textbook of Advanced Modern Chinese. Princeton University Press, 2008.

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22

Chiang, Joanne, and Chih-ping Chou. Readings in Contemporary Chinese Cinema: A Textbook of Advanced Modern Chinese. Princeton University Press, 2013.

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23

Globalization and contemporary Chinese cinema: Zhang Yimou's genre films. Springer, 2017.

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24

Zhou, Xuelin. Globalization and Contemporary Chinese Cinema: Zhang Yimou's Genre Films. Palgrave Macmillan, 2018.

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25

Wang, Yiman, Sheldon Lu, and Mark Gallagher. Contemporary Chinese Cinema and Visual Culture: Envisioning the Nation. Bloomsbury Academic & Professional, 2023.

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26

Wang, Yiman. Contemporary Chinese Cinema and Visual Culture: Envisioning the Nation. Bloomsbury Publishing Plc, 2021.

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27

Xu, Fangyi. Transformation of Contemporary Film Genre: The Aesthetics of Chinese Mainland Mainstream Cinema. Palgrave Macmillan, 2023.

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28

Silbergeld, Jerome. China into Film: Frames of Reference in Contemporary Chinese Cinema (Reaktion Books - Envisioning Asia). Reaktion Books, 2000.

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29

Zhang, Yingjin. Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema (Michigan Monographs in Chinese Studies). Center for Chinese Studies, The Universi, 2002.

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30

Zhang, Yingjin. Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema (Michigan Monographs in Chinese Studies). Center for Chinese Studies, The Universi, 2002.

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31

Zhang, Xudong. Chinese Modernism in the Era of Reforms: Cultural Fever, Avant-Garde Fiction, and the New Chinese Cinema (Post-Contemporary Interventions). Duke University Press, 1996.

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32

Zhang, Xudong. Chinese Modernism in the Era of Reforms: Cultural Fever, Avant-Garde Fiction, and the New Chinese Cinema (Post-Contemporary Interventions). Duke University Press, 1996.

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33

Chan, Kenneth, and Andrew Stuckey, eds. Sino-Enchantment. Edinburgh University Press, 2021. http://dx.doi.org/10.3366/edinburgh/9781474460842.001.0001.

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Although Chinese film audiences, including those in the PRC, Taiwan and Hong Kong, have always maintained a foundational cultural interest in the fantastic, this trend has dramatically increased over the last decade. Sino-Enchantment is the first work in English to approach this recent explosion of fantastic films in Chinese cinemas, where each re-envisioning of the form is determined by cultural, economic, political and technological factors to produce fresh inventions and creative reinventions of familiar narratives, characters and tropes. As a whole, the book argues that fantastic cinemas serve a fundamental function of re-enchanting mundane modern society with wonder and awe. Individual chapters present detailed examinations of works by famous filmmakers such as Zhang Yimou, Tsui Hark and Stephen Chow, as well as case studies of films like The Assassin (2015), Monster Hunt (2015) and The Great Wall (2016). The book focuses on a range of cinematic forms, practices and themes, which include blockbuster films, art cinema, exploitation B-movies, digital effects, ecocinema, film blanc and contemporary adaptations of traditional Chinese classics. Sino-enchantment functions as a new theoretical lens through which readers can engage with elements of the fantastic in Chinese cinema in nuanced, complex and innovative ways.
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34

Hee, Wai-Siam. Remapping the Sinophone. Hong Kong University Press, 2019. http://dx.doi.org/10.5790/hongkong/9789888528035.001.0001.

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In a work that will force scholars to re-evaluate how they approach Sinophone studies, Wai-Siam Hee demonstrates that many of the major issues raised by contemporary Sinophone studies were already hotly debated in the popular culture surrounding Chinese-language films made in Singapore and Malaya during the Cold War. Despite the high political stakes, the feature films, propaganda films, newsreels, documentaries, newspaper articles, memoirs, and other published materials of the time dealt in sophisticated ways with issues some mistakenly believe are only modern concerns. In the process, the book offers an alternative history to the often taken-for-granted versions of film and national history that sanction anything relating to the Malayan Communist Party during the early period of independence in the region as anti-nationalist. Drawing exhaustively on material from Asian, European, and North American archives, the author unfolds the complexities produced by British colonialism and anti-communism, identity struggles of the Chinese Malayans, American anti-communism, and transnational Sinophone cultural interactions. Hee shows how Sinophone multilingualism and the role of the local, in addition to other theoretical problems, were both illustrated and practised in Cold War Sinophone cinema. Remapping the Sinophone: The Cultural Production of Chinese-Language Cinema in Singapore and Malaya before and during the Cold War deftly shows how contemporary Sinophone studies can only move forward by looking backwards.
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35

Xiao, Ying. China in the Mix. University Press of Mississippi, 2017. http://dx.doi.org/10.14325/mississippi/9781496812605.001.0001.

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Scarce attention has been paid to the dimension of sound and its essential role in constructing image, culture, and identity in Chinese film and media. China in the Mix fills a critical void with an original, pioneering study of the connections and intersections of film, media, music, and popular culture in contemporary China under postsocialist reform, capitalist globalization, and hybridization. It explores fascinating topics, including appropriations of popular folklore in the Chinese new wave of the 1980s; Chinese rock ’n’ roll and youth cinema in fin de siècle China; the political-economic impact of free market imperatives and Hollywood pictures on Chinese film industry and filmmaking in the late twentieth century; the reception and adaptation of hip hop; and the emerging role of Internet popular culture and social media in the early twenty-first century. This book examines the articulations and representations of mass culture and everyday life, concentrating on their aural/oral manifestations in contemporary Chinese cinema and in a wide spectrum of media and cultural productions. The research offers the first comprehensive investigation of Chinese film, expressions, and culture from a unique, cohesive acoustic angle and through the prism of global media-cultural exchange. It shows how the complex, evolving uses of sound (popular music, voice-over, silence, noise, and audio mixing) in film and media reflect and engage the important cultural and socio-historical shifts in contemporary China and in the increasingly networked world.
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36

Schultz, Corey Kai Nelson. Moving Figures. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474421614.001.0001.

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This book examines how the films of the Chinese Sixth Generation filmmaker Jia Zhangke evoke the affective “felt” experience of China’s contemporary social and economic transformations, by examining the class figures of worker, peasant, soldier, intellectual, and entrepreneur that are found in the films. Each chapter analyzes a figure’s socio-historical context, its filmic representation, and its recurring cinematic tropes in order to understand how they create what Raymond Williams calls “structures of feeling” – feelings that concretize around particular times, places, generations, and classes that are captured and evoked in art – and charts how this felt experience has changed over the past forty years of China’s economic reforms. The book argues that that Jia’s cinema should be understood not just as narratives that represent Chinese social change, but also as an effort to engage the audience’s emotional responses during this period of China’s massive and fast-paced transformation.
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