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

<b>Yingjin Zhang</b> 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 <i>The City in Modern Chinese Literature and Film</i> (1996), <i>Screening China</i> (2002), <i>Chinese National Cinema</i> (2004), and <i>Cinema, Space, and Polylocality in a Globalizing China</i> (2010); co-author of <i>Encyclopedia of Chinese Film</i> (1998); editor of <i>China in a Polycentric World</i> (1998) and <i>Cinema and Urban Culture in Shanghai, 1922-1943</i> (1999); and co-editor of <i>From Underground to Independent</i> (2006) and <i>Chinese Film Stars</i> (2010).<br /> <br />

<i>A Companion to Chinese Cinema</i> 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.<br /> <br /> <p>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. <i>A Companion to Chinese Cinema</i> offers an important analysis of a growing force in international cinema.</p>

“This outstanding anthology offers an encyclopedic coverage of Chinese cinema form multiple angles, and will be the standard reference in Chinese cinema studies in the years to come.” <br /> - <i>Sheldon Lu, University of California, Davis</i><br /> <br /> <p>“Like its editor, this Companion is reliable, encyclopedic, and friendly. Traveling from silent melodramas to the urban generation, from Mainland China to Hong Kong and Taiwan, we now have the docent we need.”<br /> - <i>Dudley Andrew, Yale University</i></p> <p>“This stunning collection—a must-read for anyone interested in the complicated dynamics of Chinese cinema past and present—features state-of-the-art research by highly respected veteran scholars and brilliant newcomers.”<br /> - <i>Paul G. Pickowicz, University of California, San Diego</i></p>

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