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Journal articles 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

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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2

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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3

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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4

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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5

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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6

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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7

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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8

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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10

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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11

Nakajima, Seio. "Studies of Chinese Cinema in Japan." Journal of Chinese Film Studies 1, no. 1 (March 11, 2021): 167–86. http://dx.doi.org/10.1515/jcfs-2021-0001.

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Abstract Japanese interests in Chinese cinema go as far back as to the 1910s, when film magazines reported on the situation of Chinese cinema. Discussions of Chinese cinema began to flourish in the 1920s, when intellectuals wrote travelogue essays on Chinese cinema, particularly on Shanghai cinema. In the mid-1930s, more serious analytical discourses were presented by a number of influential contemporary intellectuals, and that trend continued until the end of WWII. Post-War confusion in Japan, as well as political turmoil in China, dampened academic interests of Japanese scholars on Chinese cinema somewhat, but since the re-discovery of Chinese cinema in the early 1980s with the emergence of the Fifth Generation, academic discussions on Chinese cinema resumed and flourished in the 1980s and the 1990s. In the past decade or so, interesting new trends in studies of Chinese cinema in Japan are emerging that include more transnational and comparative approaches, focusing not only on film text but the context of production, distribution, and exhibition. Moreover, scholars from outside of the disciplines of literature and film studies—such as cultural studies, history, and sociology—have begun to contribute to rigorous discussions of Chinese cinema in Japan.

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12

Kuang, Yuxuan. "The Interpretation of Contemporary “New Mainstream” Cinema." SHS Web of Conferences 148 (2022): 02013. http://dx.doi.org/10.1051/shsconf/202214802013.

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The new mainstream film is an upgraded version of the main theme film, which is more commercial, entertaining and popular. The themes are more extensive, and the casting is bolder and more grounded. Nowadays, the rise of new mainstream films also means that Chinese films have embarked on a new journey. A new type of film that combines artistry and commercialism skillfully has its unique advantages from both artistic and commercial perspectives.

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13

Talmacs, Nicole. "Chinese cinema and Australian audiences: an exploratory study." Media International Australia 175, no. 1 (March 5, 2020): 50–64. http://dx.doi.org/10.1177/1329878x20908083.

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Since Wanda’s acquisition of Hoyts Group in 2015, and Australia’s signing of the Film Co-production Treaty with China in 2008, Chinese cinema has gained access to mainstream Australian cinemas more than ever before. To date, these films have struggled to cross over into the mainstream (that is, attract non-diasporic audiences). Drawing on film screenings of a selection of both Chinese and Chinese-foreign co-productions recently theatrically released in major cities in Australia, this article finds Chinese and Chinese-foreign co-produced cinema will likely continue to lack appeal among non-Chinese Australian audiences. Concerningly, exposure to contemporary Chinese cinema was found to negatively impact willingness to watch Chinese cinema again, and in some cases, worsen impressions of China and Chinese society.

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14

Ning, Ma. "Rules of the forbidden game: Violence in contemporary Chinese cinema." New Cinemas: Journal of Contemporary Film 8, no. 3 (January 1, 2011): 169–77. http://dx.doi.org/10.1386/ncin.8.3.169_1.

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15

EVANS, MEGAN. "Chinese Xiqu Performance and Moving-Image Media." Theatre Research International 34, no. 1 (March 2009): 21–36. http://dx.doi.org/10.1017/s0307883308004215.

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This article analyses various approaches to the transposition of Chinese xiqu performance into moving-image media in terms of preserving xiqu's aesthetic aims. Pre- and post-Cultural Revolution filmic examples, as well as contemporary television serials, are discussed. I argue that within a ‘cinema of attractions’ rather than a realist line of inquiry, ‘filmed theatre’ continues as a viable and valued stream of access to xiqu performance for contemporary audiences.

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16

Bettinson, Gary. "9Film Theory." Year's Work in Critical and Cultural Theory 27, no. 1 (2019): 160–80. http://dx.doi.org/10.1093/ywcct/mbz009.

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AbstractIn this chapter I review six contributions to the field of film theory published in 2018: Carl Plantinga’s Screen Stories: Emotion and the Ethics of Engagement (Oxford University Press); Miklós Kiss and Steven Willemsen’s Impossible Puzzle Films: A Cognitive Approach to Contemporary Complex Cinema (Edinburgh University Press); Nicholas Godfrey’s The Limits of Auteurism: Case Studies in the Critically Constructed New Hollywood (Rutgers University Press); Peter Krämer and Yannis Tzioumakis’s The Hollywood Renaissance: Revisiting American Cinema’s Most Celebrated Era (Bloomsbury Academic); Dorothy Wai Sim Lau’s Chinese Stardom in Participatory Cyberculture (Edinburgh University Press); and Gina Marchetti’s Citing China: Politics, Postmodernism, and World Cinema (University of Hawaii Press). The chapter has three sections: 1. Cognition, Emotion, and Ethics; 2. The New Hollywood; 3. Contemporary Chinese Cinema.

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17

Wang, Eugene Yuejin. "China into Film: Frames of Reference in Contemporary Chinese Cinema (review)." China Review International 8, no. 2 (2001): 492–501. http://dx.doi.org/10.1353/cri.2001.0109.

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18

Letteri, Richard. "History, Silence and Homelessness in Contemporary Chinese Cinema: Wang Xiaoshuai'sShanghai Dreams." Asian Studies Review 34, no. 1 (March 2010): 3–18. http://dx.doi.org/10.1080/10357820903565066.

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19

Ognieva, T. K. "FEATURES OF THE DEVELOPMENT OF CONTEMPORARY CHINESE, KOREAN AND JAPANESE ART AND CINEMA." UKRAINIAN CULTURAL STUDIES, no. 1 (6) (2020): 69–83. http://dx.doi.org/10.17721/ucs.2020.1(6).15.

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The article analyzes the conditions and factors that influenced the formation of contemporary art and cinema in China, South Korea and Japan. We can determine the peculiarities of the development of Chinese contemporary art, such as the desire of the first artists, after the Cultural Revolution, to reflect its flux and effects as much as possible. Further, artistic tendencies become diverse: the commercial component and a certain element of the state of affairs are viewed in the works of art by Chinese authors, but the desire for self-expression in different ways testify to the progressive phenomena characteristic of art. Modern Korean art proves that the scientific and technological revolution and the dominant avant-garde component of mass culture in general cannot supplant the ultimate traditional artistic creativity. One of the characteristic features of contemporary Korean art is a demonstration of belonging to the culture of the country. First of all, this is the influence of the traditions of Confucianism, Buddhism, along with the painful memories of war and long-term colonization by Japan. One can note the simplicity, orderliness, harmony of colors and shapes as an inalienable feature of Korean contemporary art, but modern tendencies show the striving for the discovery of individuality of the artist, which manifests itself in non-standard artistic forms. Japanese visual art combines the works of autochthonous traditions and European artistic principles. Considerable attention is paid to the issue of the relationship between nature and man, reflected in the work of adherents of the synthesis of Japanese traditions and Western variety of forms. Particular attention is paid to contemporary artists in Japan with the latest technology – video art, 3D painting, interactive installations and installations-hybrids. Chinese cinema with the generation of directors, known as the Fifth Generation, reveals new trends. These artists initially sought to convey events and tragedies during the Cultural Revolution, but over time they turned to other themes and genres. Directors of the "Sixth Generation" paid special attention to social problems, the place of action in their films is unknown China – small settlements or cities. Modern Korean cinema covers two large areas: cinema for women – melodrama, and for men – adventure. Today the adventure genre is oriented mainly to teens, and the melodrama genre has been transformed from the problems of the middle-aged women's interest towards the youth audience, therefore, it is more likely to come closer to the romantic comedy. The tragedy of Korea, which is split up into two parts, worries the movie-makers. In recent years there have been changes in South Korean position in exposing North Korean residents. If the previous decades in South Korean cinema was cultivating the image of the enemy: North Korean could be either a spy or killer, but now the inhabitants of North Korea are perceived and presented in films differently, not embodying exclusively negative features. In Japanese cinema, the emphasis is on the visual array, which allows you to bring forward contemplation and the deep meaning is transmitted by artistic images typical of the oriental art in general. In films, much attention is paid to the smallest details; certain asceticism along with the aesthetization of the frame is a reflection of purely Japanese features – minimalism as the meaning of existence. Familiarity with the peculiarities of the development of contemporary art and cinema in China, Korea and Japan is a necessary component for further dialogue between the cultures of East and West in terms of balanced interaction and artistic transformations of the modern world.

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20

Villén Higueras, Sergio Jesús, Xinjie Ma, and Francisco Javier Ruiz-del-Olmo. "Crowdfunding as a Catalyst for Contemporary Chinese Animation." Animation 15, no. 2 (July 2020): 130–44. http://dx.doi.org/10.1177/1746847720933792.

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This study explores the online financing forms and practices of contemporary Chinese animation cinema. The research focuses on the use of crowdfunding by this industry, and analyses three recent cases, One Hundred Thousand Bad Jokes (2014), Monkey King: Hero Is Back (2015), and Big Fish & Begonia (2016), selected based on the perspective of the high economic revenue earned and the artistic and creative singularity of these films, as well as the consideration of the undeniable influence of these productions on the imagination of new generations. Using an exploratory and descriptive research methodology, the authors uncover the main features of the production of animated films based on crowdfunding. The results show that obtaining funds is a secondary objective for these movies that mainly use crowdfunding as a promotional strategy for creating an active fan base and channelling their affective involvement towards the communicative interests of each project.

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21

Mitchell, Tony. "Migration, Memory and Hong Kong as a 'Space of Transit' in Clara Law's Autumn Moon." Cultural Studies Review 9, no. 1 (September 13, 2013): 139–58. http://dx.doi.org/10.5130/csr.v9i1.3589.

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Macau-born and Melbourne-based film maker Clara Law and her screenwriter-producer-director husband Eddie Fong have produced a transnational output of films which are beginning to receive critical recognition as major contributions to contemporary cinema. These ‘films of migration’ explore what Gina Marchetti has encapsulated as ‘the Chinese experience of dislocation, relocation, emigration, immigration, cultural hybridity, migrancy, exile, and nomadism—together termed the “Chinese diaspora”’. The self-imposed ‘relocation’ of Law and Fong to Australia in 1994 was the result of increasing frustration with the rampantly commercial imperatives of Hong Kong cinema and its lack of appreciation for the auteur cinema they wanted to pursue.

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22

Surace, Bruno. "Ellipses and Amnesias. Poetics and Figures of Time in Contemporary Chinese Cinema." Critical Theory 4, no. 1 (2020): 62–83. http://dx.doi.org/10.47297/wspctwsp2515-470203.20200401.

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23

Lau, Jenny Kwok Wah. ""Farewell My Concubine": History, Melodrama, and Ideology in Contemporary Pan-Chinese Cinema." Film Quarterly 49, no. 1 (1995): 16–27. http://dx.doi.org/10.2307/1213489.

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24

Braester, Yomi. "The Spectral Return of Cinema: Globalization and Cinephilia in Contemporary Chinese Film." Cinema Journal 55, no. 1 (2015): 29–51. http://dx.doi.org/10.1353/cj.2015.0070.

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Lau, Jenny Kwok Wah. ""Farewell My Concubine": History, Melodrama, and Ideology in Contemporary Pan-Chinese Cinema." Film Quarterly 49, no. 1 (October 1995): 16–27. http://dx.doi.org/10.1525/fq.1995.49.1.04a00030.

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26

Shim, Chang-sup, and Senyao Sang. "Urban Tourism and Contemporary Authenticity : Ethnography of Chinese Independent Tourists in Sinsadong Garosugil." Korea Journal of Tourism Research 32, no. 2 (March 31, 2017): 429–47. http://dx.doi.org/10.21719/kjtr.32.2.21.

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27

Akser, Murat. "Editorial." CINEJ Cinema Journal 2, no. 2 (September 27, 2013): 1–3. http://dx.doi.org/10.5195/cinej.2013.75.

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This issue of CINEJ deals with approaches to films from different parts of the world ranging from India and China to Italy and Canada. Detailed analyses on films about Ghandi, docufictions on New York City, reflections of contemporary terror in historical cinema, Chinese Soft Film Movement, road movies, religious identification in films, documemory, Italian neorealism and female performance in Canadian cinema are presented in this issue.

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28

Fan, Ni. "Ne Zha’s image transformation in Chinese animation cinema (1961‐2019)." Film, Fashion & Consumption 10, no. 1 (April 1, 2021): 277–98. http://dx.doi.org/10.1386/ffc_00025_1.

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This article analyses Ne Zha’s image evolution through different animated films in the PRC from 1961 to 2019. Three key Ne Zha films are Uproar in Heaven, Ne Zha Conquers the Dragon King and Ne Zha, representing the era of ‘classical Chinese animation’, ‘modern Chinese animation’ and ‘postmodern Chinese animation’, respectively. In 2019, Ne Zha became the summer hit and the highest-grossing Chinese original animation earning ¥5.035 billion at the Chinese box office. Explorations of how classical artistic traditions and legendary stories have been transposed into these films shows that Chinese animation has retreated from the peak of national style in the 1960s and undergone change with globalization’s cultural and ideological impacts. In sum, artistic techniques associated with fine arts film, traditional narrative methods and plot stylization have gradually weakened. Contemporary elements such as Hollywood classic three-act pattern and Japanese comic character relationships and images have significantly influenced Chinese animation in the twenty-first century.

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Berry, Chris. "Wolf Warrior 2: Imagining the Chinese Century." Film Quarterly 72, no. 2 (2018): 38–44. http://dx.doi.org/10.1525/fq.2018.72.2.38.

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How has contemporary Chinese cinema responded to China's new outward focus as global trade and military presence? Until recently, representations of the country's overseas military presence have been few and far between, that is until the release of Zhanlang 2 (Wolf Warrior 2, 2017), a phenomenally successful Rambo-style action adventure. This article explores the ways in which Wolf Warrior 2 adapts Hollywood conventions to China's current nationalist ambitions, with particular regard to issues of genre and masculinity.

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Pollacchi, Elena. "Spaces and bodies: The legacy of Italian cinema in contemporary Chinese film-making." Journal of Italian Cinema & Media Studies 2, no. 1 (March 1, 2014): 7–21. http://dx.doi.org/10.1386/jicms.2.1.7_1.

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31

Cheung, Tammy, and Michael Gilson. "Gender Trouble in Hongkong Cinema." Cinémas 3, no. 2-3 (March 15, 2011): 181–201. http://dx.doi.org/10.7202/1001198ar.

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The authors conduct a brief survey of some recent examples of the Hongkong cinema, focusing on questions surrounding the portrayals of female and male characters in them. Today's Hongkong films, society and culture are just now taking tentative steps towards an awareness of gay and lesbian themes, and in some measure, of feminism. How are different types of female characters presented in contemporary Hongkong cinema? How does the traditional Chinese view of "male" differ from the West's? The recent trend that has "gender-bending" characters appearing in a number of Hongkong feature films is also examined. The authors maintain that stereotypical representations of women, men, and homosexual characters persist in the Hongkong film industry, that honest portrayals of gay and lesbian characters are mostly absent from the movie screens of the Crown Colony.

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32

Wilder, Seth A. "Sentimental journey? The drifting rhythms of Tsai Ming-liang’s Journey to the West." Asian Cinema 32, no. 1 (April 1, 2021): 3–18. http://dx.doi.org/10.1386/ac_00030_1.

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With his experimental short, Journey to the West, Tsai Ming-liang creates a cinematic experience that recalls the early ‘cinema of attractions’, but this is an attraction with a twist. As a spectacle, it is more specular than spectacular. An attraction without the attendant excitement, his is a reflection that presents a provocation. By calling out the shortened attention span of contemporary life, Tsai identifies the level of distraction that characterizes the contemporary, post-industrialized spaces of late-stage capitalism. An attempt at redemption, his film conveys a sense of what Rey Chow refers to in contemporary Chinese cinema as ‘the sentimental’. Framed by Henri Lefebvre’s and Lea Jacobs’s respective ideas concerning rhythms both extrinsic and intrinsic to the cinematic, and complemented by considerations of temporality, rather than making meaning, this article attempts to make sense of the film by locating these rhythms within it.

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33

Man-chi Cheung, Terrie. "The Discourse of Independent Animation in the Contemporary Chinese Context." Animation 16, no. 3 (November 2021): 175–89. http://dx.doi.org/10.1177/17468477211050974.

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Independent animation is a marginal media form in China, and studies describe how both Chinese artists and scholars of film studies have only started to practice or construct this genre and popular cinema since the 1990s, especially after the Shanke (Chinese Flash animators, 閃客) phenomenon. In this article, the existing discourse of independent animation in contemporary China is critically analyzed by studying mainly what is said and written by the local practitioners and scholars in China. The author’s analysis is based on the assumption that animation should be taken ‘as an art form’, which should be able to express itself freely without any external constraints or intervention by others. Hence, the focus should be placed on the ultimate purpose and meaning of art along with the form. Among the various types of discourses constructed by practitioners, the author argues that the discourse constructed by the contemporary Chinese art scene should be encouraged to keep the nature of independent works so as to give voice to true, personal and inner values, and expressions that are outside the institutionalized and dominating discourse or framework.

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34

Zhu, Yanhong. "The Human and the Beast: Humanity, Animality, and Cultural Critique in Contemporary Chinese Cinema." Chinese Literature Today 7, no. 1 (January 2, 2018): 107–17. http://dx.doi.org/10.1080/21514399.2018.1458386.

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35

Zhu, Yanhong. "The Crisis of the American Dream: On Going-Abroad Films in Contemporary Chinese Cinema." American Quarterly 69, no. 3 (2017): 763–68. http://dx.doi.org/10.1353/aq.2017.0060.

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36

Berry, Chris. "Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China's Moral Voice (with DVD). By Jerome Silbergeld. [Seattle: University of Washington Press, 2004. 160 pp. £22.95. ISBN 0-295-98417-1.]." China Quarterly 182 (June 2005): 454–56. http://dx.doi.org/10.1017/s0305741005360267.

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Jerome Silbergeld introduced an art history approach into Chinese film studies with China into Film: Frames of Reference in Contemporary Chinese Cinema in 2000. Hitchcock with a Chinese Face goes further. Like an art historian selecting three seemingly disparate paintings and demonstrating their links, Silbergeld chooses a film each from Hong Kong, Taiwan and mainland China, but argues that they pursue similar aesthetic and political directions. The result is a virtuoso display of intense textual and inter-textual exegesis, informed by an in-depth knowledge of the pre-modern Chinese arts, contemporary Chinese political culture, and globally circulated Western culture (including Hitchcock). It is also a challenge to the discipline of film studies itself.The three films Silbergeld selects for analysis are Lou Ye's 2000 film from mainland China, Suzhou River (Suzhou he); Yim Ho's 1994 Hong Kong film, The Day the Sun Turned Cold (Tianguo nizi); and the final part of Hou Hsiao Hsien's 1995 Taiwan trilogy, Good Men, Good Women (Hao nan, hao nü,). He acknowledges that the project began as a personal indulgence allowing him to explore further some of his favourite films. However, his engagement with the films leads him to argue that each one, in its own way, deconstructs the commonly circulated idea of a unified Chinese culture, engages powerfully with morality, is narratively complex and anti-commercial, mobilizes a cosmopolitan knowledge of world cinema, and displays an unusual degree of interest in individual psychology and oedipality. The latter elements help to ground the comparisons to Hitchcock (as well as to Hamlet, Dostoevsky, Faulkner and others).

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Unger, Jonathan, and Ole Bruun. "Business and Bureaucracy in a Chinese City: An Ethnography of Private Business Households in Contemporary China." Pacific Affairs 67, no. 4 (1994): 595. http://dx.doi.org/10.2307/2759581.

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38

Yang, Jing. "Reconstructing the Patriotic Discourse in Contemporary Chinese Cinema: City of Life and Death and Cow." Journal of Popular Culture 50, no. 4 (April 26, 2017): 685–703. http://dx.doi.org/10.1111/jpcu.12541.

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39

Cheung, Siu Keung. "Ideological battles in and out 1911." Social Transformations in Chinese Societies 13, no. 2 (September 5, 2017): 137–48. http://dx.doi.org/10.1108/stics-04-2017-0006.

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Purpose During the centennial anniversary of Xinhai Revolution in 2011, the Chinese People’s Political Consultative Conference and the State Administration of Radio, Film, and Television supported the production of 1911 for celebrating such an important event that lead to the rise of the Republic of China in the contemporary Chinese history. This paper aims to reflect upon this film in relation to China’s propagation of “Greater China” for the Empire-building project. Design/methodology/approach By scrutinizing the film text and following the strait controversies over the film, this paper demonstrates how the Chinese Communist agents employed the coproduction model with Hong Kong for globalizing a cinematic discourse of Greater China in part of their Empire-building project. Findings The study challenges how contemporary Chinese history is ideologically and politically manipulated for advancing the Chinese Communist propaganda over Taiwan. The overall objective is to reflect upon the longstanding historical divergences that stand on the current geopolitical envision and strategy of China for reunification. Originality/value This paper provides an interdisciplinary reflection upon the intricate post-Cold War politics in part of the contemporary Chinese cinema under the China–Hong Kong coproduction model. The findings advance novel and timely insights into China’s current envision and strategy for reunification.

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40

Gates, Hill. "Business and Bureaucracy in a Chinese City: An Ethnography of Private Business Households in Contemporary China.Ole Bruun." China Journal 34 (July 1995): 323–24. http://dx.doi.org/10.2307/2950167.

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41

Goldstein, Joshua. "Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema. Yingjin Zhang." China Journal 50 (July 2003): 172–73. http://dx.doi.org/10.2307/3182268.

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42

Berry, Chris. "Book Review: Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema." China Information 17, no. 1 (March 2003): 117–21. http://dx.doi.org/10.1177/0920203x0301700112.

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43

Zhu, Yanhong. "Bodies in crisis: Sensuality and the cinematic reconfiguration of the spy genre in contemporary Chinese cinema." East Asian Journal of Popular Culture 1, no. 3 (September 1, 2015): 359–76. http://dx.doi.org/10.1386/eapc.1.3.359_1.

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44

Shi, Qian Fei, and Yu Tao Wang. "Discussion on Guidance Space and Mediation Space Environment Design in Cinema." Advanced Materials Research 224 (April 2011): 12–16. http://dx.doi.org/10.4028/www.scientific.net/amr.224.12.

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In recent years, with the accelerating process of urbanization and increasing environmental problems, there has been increasing awareness of environmental quality for the taste of the importance of building space. Therefore, many buildings actively create the garden space environment in order to further improve the environment, enhance the image of architectural space and taste the environment. China has a rich cultural heritage and development advantages. Chinese contemporary landscape design should fully learn the traditional classical garden design, construction techniques and artistic expression, to guide the construction of indoor and outdoor landscape design. From the cinema users' point of view, the construction of indoor and outdoor space and intermediate space environment design are discussed, and this article introduced the two space environment to create the built environment means, and from the perspective of environmental psychology,cinema and architecture space environment lead the design of the space environment to improve the quality of cinema space.

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45

Hoang, Cam-Giang. "Vietnamese and Chinese Movies about Royalty." Asian Studies 8, no. 2 (May 20, 2020): 135–62. http://dx.doi.org/10.4312/as.2020.8.2.135-162.

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Since 2002, with the enormously successful release of the movie Hero by Zhang Yimou, we have been witnessing the resurrection of the royal theme in contemporary East Asian cinema, and the return of Confucian cosmology as its philosophical foundation. In this paper, I focus on Vietnamese films which represent royal subjects and court life, like Heroes of the Tay Son Dynasty (Tây Sơn hào kiệt; Lý Hùng, Lý Huỳnh, and Phượng Hoàng; 2010), Blood Letter (Thiên mệnh anh hùng, Victor Vũ, 2012), and Tam Cam The Untold Story (Tấm Cám chuyện chưa kể, Ngô Thanh Vân, 2016); and Chinese films, like Hero (英雄, Zhang Yimou, 2002), The Banquet (夜宴, Feng Xiaogang, 2006), and Red Cliff (赤壁, John Woo, 2008). Firstly and most importantly, my essay examines how the cosmic and environmental elements in such movies are manipulated to advocate some particular political discourse as a kind of ecological politics. From this analysis, I analyse and explain the similarities in how the filmmakers in Vietnam and China establish the stereotypes of power and legitimacy of authority utilizing and transforming the Confucian spiritual cosmology. I also try to clarify the difference between the two cinemas in how they express the concepts “the Unity of Heaven and Man” (tianren heyi), “Rectification of Names” (zhengming), and “Virtue of Loving Life” (haosheng) in their political implications. Finally, I will discuss the layers of meaning and visual narratives by analysing the characters and social contexts of the films to reaffirm the varying degrees of influence of Confucian tradition on contemporary forms of cultural and political practices.

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Han, Qijun. "Across Cultural and National Borders: Diasporic Chinese Family in Pushing Hands." CINEJ Cinema Journal 1 (August 4, 2011): 107–15. http://dx.doi.org/10.5195/cinej.2011.12.

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Being embedded in the interdisciplinary area of media and culture studies, this articlel explores the family melodrama in transnational Chinese cinema drawing upon theoretical discussions with regard to the historical emergence of melodrama in correspondence to, as Th. Elsaesser says, “periods of intense social and ideological crisis”. While serving as a reflection on the tension between tradition and modernity displayed in the domestic domain, Ang Lee’s Chinese-characterized family melodrama also illustrates the differences between Chinese and Hollywood family melodrama. Linked to the ongoing debate about “melodrama as a cross-cultural form”, in the process of analyzing the film text, our perceptions of generic dislocation or displacement, transcultural entanglements and globalization in light of contemporary cultural practices will be furthermore complicated.

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Cheung, Siu Keung. "From transnational to Chinese national?" Social Transformations in Chinese Societies 13, no. 2 (September 5, 2017): 106–17. http://dx.doi.org/10.1108/stics-04-2017-0009.

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Purpose This paper aims to challenge the longstanding cosmopolitan interpretation of Hong Kong, particularly why this global city fails to absorb China equally through its great inclusiveness and flexibility as before. On the contrary, rising tensions, conflicts and resistance could be founded between Hong Kong and China these days. Design/methodology/approach By using Hong Kong cinema as an analytical lens, this paper seeks to throw light on the cinematic landscape of post-1997 Hong Kong and, by implications, the overall destiny of postcolonial Hong Kong under Chinese rule. Findings The postcolonial Hong Kong, although lacking a symmetric status and equal weight, remains an active player with Chinese hegemony that appeals to the newfound market power to consolidate their systemic control on the city. By acting upon itself with the subjectivity and reflexivity from itself, postcolonial Hong Kong takes many actions to do justice that criticizes the political and ideological correctness and challenges the contemporary national authority from one-party rule. Originality/value This paper demonstrates a new in-betweenness in the relation to the making of postcolonial Hong Kong. This paper advances insights into a postcolonial reinvention of the politics of disappearance that remains underexplored.

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Chen, Fang. "Gender and Corruption." Modern China 43, no. 1 (August 1, 2016): 66–94. http://dx.doi.org/10.1177/0097700416647327.

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From a cultural approach and a feminist perspective, this article analyzes a gendered narrative of official corruption in China through news reports of “keeping a second wife.” Moreover, it engages the lived experiences and perceptions of the message receivers. Drawing upon feminist discourse analysis, interviews, and digital ethnography, this study shows that a cultural script derived from the Chinese storytelling tradition of “women are a source of trouble” serves as a contemporary narrative of corruption in the state media. Nevertheless, the media narrative has generated a vigorous audience counternarrative, which disconnects the media linkage between “second wives” and corruption.

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Desser, D. "Stephanie Hemelryk Donald, Public Secrets, Public Spaces: Cinema and Civility in China; Jerome Silbergeld, China into Film: Frames of Reference in Contemporary Chinese Cinema." Screen 43, no. 1 (March 1, 2002): 97–101. http://dx.doi.org/10.1093/screen/43.1.97.

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Sutandio, Anton, and Sonny Angjaya. "THE CONCEPT OF CHINESE-INDONESIAN-NESS AS SEEN FROM ERNEST PRAKASA’S ROLES IN NGENEST, CEK TOKO SEBELAH, SUSAH SINYAL AND STIP & PENSIL." Capture : Jurnal Seni Media Rekam 11, no. 1 (November 26, 2019): 81–103. http://dx.doi.org/10.33153/capture.v11i1.2665.

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This article discusses four films entitled Ngenest (2015), Cek Toko Sebelah (2016), Susah Sinyal (2017), and Stip & Pensil (2017) in which Ernest Prakasa played a role, in the context of how the four films construct Chinese-Indonesian-ness. In the context of cinema, the appearance of Chinese-Indonesians on the screen during the New Order regime was scarce, and if there is any, the depiction was highly stereotyped. Only after Reform era in the late 1990s that Chinese-Indonesians and their culture began to re-appear on screen. Ernest Prakasa is one of few Chinese-Indonesians who publicly celebrates his Chinese-ness through entertainment platform. Ethnic identity theory applied on the discussion of the film cinematography and mise-en-scene to show what the films say about the concept of Chinese-Indonesian-ness. The findings show that Prakasa not only celebrates being a Chinese-Indonesian, but he also performs a self-mockery as Chinese-Indonesians by explicitly emphasizing the Chinese-Indonesians stereotypes. He also tries to re-establish inter-ethnic relationship and introduce contemporary Chinese-Indonesian-ness concept through his films.

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