The Oxford Handbook of Chinese Cinemas (Oxford Handbooks)

What does it mean for a cinematic work to be "Chinese"? Does it refer specifically to a work's subject, or does it also reflect considerations of language, ethnicity, nationality, ideology, or political orientation? Such questions make any single approach to a vast field like "Chinese cinema" difficult at best. Accordingly, The Oxford Handbook of Chinese Cinemas situates the term more broadly among various different phases, genres, and distinct national configurations, while taking care to address the consequences of grouping together so many disparate histories under a single banner. Offering both a platform for cross-disciplinary dialogue and a mapping of Chinese cinema as an expanded field, this Handbook presents thirty-three essays by leading researchers and scholars intent on yielding new insights and new analyses using three different methodologies. Chapters in Part I investigate the historical periodizations of the field through changing notions of national and political identity ― all the way from the industry's beginnings in the 1920s up to its current forms in contemporary Hong Kong, Taiwan, and the global diaspora. Chapters in Part II feature studies centered on the field's taxonomical formalities, including such topics as the role of the Chinese opera in technological innovation, the political logic of the "Maoist film," and the psychoanalytic formula of the kung fu action film. Finally, in Part III, focus is given to the structural elements that comprise a work's production, distribution, and reception to reveal the broader cinematic apparatuses within which these works are positioned. Taken together, the multipronged approach supports a wider platform beyond the geopolitical and linguistic limitations in existing scholarship. Expertly edited to illustrate a representative set of up to date topics and approaches, The Oxford Handbook of Chinese Cinemas provides a vital addition to a burgeoning field still in its formative stages. [UNTITLED] 1 1 Edited by Carlos Rojas 1 [UNTITLED] 2 (p. xi) Contributors 3 (p. xi) Contributors 3 3 Edited by Carlos Rojas 3 (p. xi) Contributors 4 (p. xi) Contributors 5 (p. xi) Contributors 6 (p. xi) Contributors 7 (p. xi) Contributors 8 (p. xi) Contributors 9 (p. xi) Contributors 10 (p. xi) Contributors 11 (p. xi) Contributors 12 Introduction: Chinese Cinemas and the Art of Extrapolation 13 Abstract and Keywords 13 Carlos Rojas 13 Edited by Carlos Rojas 13 Introduction: Chinese Cinemas and the Art of Extrapolation 14 Introduction: Chinese Cinemas and the Art of Extrapolation 15 Introduction: Chinese Cinemas and the Art of Extrapolation 16 Introduction: Chinese Cinemas and the Art of Extrapolation 17 History 17 Introduction: Chinese Cinemas and the Art of Extrapolation 18 Introduction: Chinese Cinemas and the Art of Extrapolation 19 Introduction: Chinese Cinemas and the Art of Extrapolation 20 Introduction: Chinese Cinemas and the Art of Extrapolation 21 Introduction: Chinese Cinemas and the Art of Extrapolation 22 Form 22 Introduction: Chinese Cinemas and the Art of Extrapolation 23 Introduction: Chinese Cinemas and the Art of Extrapolation 24 Introduction: Chinese Cinemas and the Art of Extrapolation 25 Introduction: Chinese Cinemas and the Art of Extrapolation 26 Structure 26 Introduction: Chinese Cinemas and the Art of Extrapolation 27 Introduction: Chinese Cinemas and the Art of Extrapolation 28 Introduction: Chinese Cinemas and the Art of Extrapolation 29 Introduction: Chinese Cinemas and the Art of Extrapolation 30 Introduction: Chinese Cinemas and the Art of Extrapolation 31 Introduction: Chinese Cinemas and the Art of Extrapolation 32 Works Cited 32 Notes: 32 Introduction: Chinese Cinemas and the Art of Extrapolation 33 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 34 Abstract and Keywords 34 Jianhua Chen 34 Edited by Carlos Rojas 34 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 35 Griffith and Accepting Film as Art 35 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 36 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 37 The Griffith Phenomenon and Commercial War 37 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 38 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 39 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 40 Lillian Gish and the Gender Problem 40 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 41 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 42 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 43 Conclusion 43 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 44 (p. 33) Appendix 1.1 Screenings of Griffith’s Movies in Shanghai, 1923–24 44 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 45 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 46 Works Cited 46 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 47 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 48 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 49 Notes: 49 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 50 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 51 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 52 D. W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai 53 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 54 Abstract and Keywords 54 Kristine Harris 54 Edited by Carlos Rojas 54 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 55 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 56 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 57 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 58 Love and Duty: The Backstory 58 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 59 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 60 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 61 The Aura of the Star 61 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 62 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 63 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 64 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 65 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 66 Double Ruan 66 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 67 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 68 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 69 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 70 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 71 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 72 Works Cited 72 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 73 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 74 Notes: 74 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 75 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 76 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 77 Ombres Chinoises: Split Screens and Parallel Lives in Love and Duty 78 Fei Mu, Mei Lanfang, and the Polemics of Screening China 79 Abstract and Keywords 79 David Der-wei Wang 79 Edited by Carlos Rojas 79 Fei Mu, Mei Lanfang, and the Polemics of Screening China 80 In Search of the “Air” of Chinese Cinema 80 Fei Mu, Mei Lanfang, and the Polemics of Screening China 81 Fei Mu, Mei Lanfang, and the Polemics of Screening China 82 Fei Mu, Mei Lanfang, and the Polemics of Screening China 83 Eternal Regret 83 Fei Mu, Mei Lanfang, and the Polemics of Screening China 84 Fei Mu, Mei Lanfang, and the Polemics of Screening China 85 Fei Mu, Mei Lanfang, and the Polemics of Screening China 86 Spring in a Small Town 86 Fei Mu, Mei Lanfang, and the Polemics of Screening China 87 Fei Mu, Mei Lanfang, and the Polemics of Screening China 88 Fei Mu, Mei Lanfang, and the Polemics of Screening China 89 Fei Mu, Mei Lanfang, and the Polemics of Screening China 90 Fei Mu, Mei Lanfang, and the Polemics of Screening China 91 Works Cited 91 Fei Mu, Mei Lanfang, and the Polemics of Screening China 92 Fei Mu, Mei Lanfang, and the Polemics of Screening China 93 Fei Mu, Mei Lanfang, and the Polemics of Screening China 94 Notes: 94 Fei Mu, Mei Lanfang, and the Polemics of Screening China 95 Fei Mu, Mei Lanfang, and the Polemics of Screening China 96 Fei Mu, Mei Lanfang, and the Polemics of Screening China 97 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 98 Abstract and Keywords 98 Jie Li 98 Edited by Carlos Rojas 98 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 99 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 100 The Creation of a “National Cinema” 100 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 101 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 102 Colonization as Homecoming: Li Xianglan’s Interethnic Romances 102 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 103 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 104 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 105 Cosmopolitanism and Modernity in Manchuria’s Cities 105 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 106 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 107 The National Body under Threat from Opium and Lice 107 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 108 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 109 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 110 From Manying to Dongying, and a Postscript on The Last Emperor 110 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 111 Works Cited 111 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 112 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 113 Notes: 113 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 114 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 115 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 116 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 117 A National Cinema for a Puppet State: The Manchurian Motion Picture Association 118 A Genealogy of Cinephilia in the Maoist Period 119 Abstract and Keywords 119 Yomi Braester 119 Edited by Carlos Rojas 119 A Genealogy of Cinephilia in the Maoist Period 120 A Genealogy of Cinephilia in the Maoist Period 121 A Space for Public Debate 121 A Genealogy of Cinephilia in the Maoist Period 122 A Genealogy of Cinephilia in the Maoist Period 123 A Genealogy of Cinephilia in the Maoist Period 124 Between Ideology and Form 124 A Genealogy of Cinephilia in the Maoist Period 125 A Genealogy of Cinephilia in the Maoist Period 126 Reaching for International Cinephilia 126 A Genealogy of Cinephilia in the Maoist Period 127 A Genealogy of Cinephilia in the Maoist Period 128 A Genealogy of Cinephilia in the Maoist Period 129 The End of an Era of Openness 129 A Genealogy of Cinephilia in the Maoist Period 130 A Genealogy of Cinephilia in the Maoist Period 131 (p. 110) The Legacy of 1950s Cinephilia 131 Works Cited 131 A Genealogy of Cinephilia in the Maoist Period 132 A Genealogy of Cinephilia in the Maoist Period 133 A Genealogy of Cinephilia in the Maoist Period 134 Notes: 134 A Genealogy of Cinephilia in the Maoist Period 135 A Genealogy of Cinephilia in the Maoist Period 136 A Genealogy of Cinephilia in the Maoist Period 137 Cold War Politics and Hong Kong Mandarin Cinema 138 Abstract and Keywords 138 Poshek Fu 138 Edited by Carlos Rojas 138 Cold War Politics and Hong Kong Mandarin Cinema 139 Rebuilding Postwar Cinema 139 Cold War Politics and Hong Kong Mandarin Cinema 140 Cold War Politics and Hong Kong Mandarin Cinema 141 Cold War Politics and Hong Kong Mandarin Cinema 142 Run Run Shaw and the Rise of “Movietown” 142 Cold War Politics and Hong Kong Mandarin Cinema 143 Cold War Politics and Hong Kong Mandarin Cinema 144 Cold War Politics and Hong Kong Mandarin Cinema 145 Cold War Politics and Golden Age of Mandarin Cinema 145 Cold War Politics and Hong Kong Mandarin Cinema 146 Cold War Politics and Hong Kong Mandarin Cinema 147 Cold War Politics and Hong Kong Mandarin Cinema 148 Cold War Politics and Hong Kong Mandarin Cinema 149 (p. 127) Martial Arts, Japanese Expatriates, Coproduction 149 Cold War Politics and Hong Kong Mandarin Cinema 150 Cold War Politics and Hong Kong Mandarin Cinema 151 Epilogue 151 Cold War Politics and Hong Kong Mandarin Cinema 152 Works Cited 152 Cold War Politics and Hong Kong Mandarin Cinema 153 Cold War Politics and Hong Kong Mandarin Cinema 154 Notes: 154 Cold War Politics and Hong Kong Mandarin Cinema 155 Cold War Politics and Hong Kong Mandarin Cinema 156 Cold War Politics and Hong Kong Mandarin Cinema 157 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 158 Abstract and Keywords 158 Tsungyi Michelle Huang 158 Edited by Carlos Rojas 158 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 159 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 160 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 161 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 162 (p. 138) From Femme Fatale to Soul Redeemer: The Transformation of “Northern Girls” 162 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 163 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 164 From Prostitutes to Mothers: Reimaging Migrants in the City 164 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 165 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 166 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 167 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 168 The Professional Elite as the New Object of Desire 168 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 169 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 170 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 171 Conclusion 171 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 172 Works Cited 172 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 173 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 174 Notes: 174 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 175 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 176 Conceiving Cross-Border Communities: Mobile Women in Recent Hong Kong Cinema 177 Taiwan New Cinema: Small Nation with Soft Power 178 Abstract and Keywords 178 Song Hwee Lim 178 Edited by Carlos Rojas 178 Taiwan New Cinema: Small Nation with Soft Power 179 Soft Power: Taiwan Cinema as International Miracle 179 Taiwan New Cinema: Small Nation with Soft Power 180 Taiwan New Cinema: Small Nation with Soft Power 181 Taiwan New Cinema: Small Nation with Soft Power 182 Taiwan New Cinema: Small Nation with Soft Power 183 People Power: Cape No. 7 as Domestic Miracle 183 Taiwan New Cinema: Small Nation with Soft Power 184 Taiwan New Cinema: Small Nation with Soft Power 185 Taiwan New Cinema: Small Nation with Soft Power 186 Contesting Film Historiography: “Another Kind of Cinema” 186 Taiwan New Cinema: Small Nation with Soft Power 187 Taiwan New Cinema: Small Nation with Soft Power 188 (p. 162) Appendix 8.1 Major Prizes Won at the Top Three International Film Festivals (Berlin, Cannes, Venice) 188 Taiwan New Cinema: Small Nation with Soft Power 189 Taiwan New Cinema: Small Nation with Soft Power 190 Taiwan New Cinema: Small Nation with Soft Power 191 Taiwan New Cinema: Small Nation with Soft Power 192 Taiwan New Cinema: Small Nation with Soft Power 193 Works Cited 193 Taiwan New Cinema: Small Nation with Soft Power 194 Taiwan New Cinema: Small Nation with Soft Power 195 Notes: 195 Taiwan New Cinema: Small Nation with Soft Power 196 Taiwan New Cinema: Small Nation with Soft Power 197 Taiwan New Cinema: Small Nation with Soft Power 198 Taiwan New Cinema: Small Nation with Soft Power 199 Taiwan New Cinema: Small Nation with Soft Power 200 Taiwan New Cinema: Small Nation with Soft Power 201 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 202 Abstract and Keywords 202 Michael Berry 202 Edited by Carlos Rojas 202 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 203 China’s Hollywoods 203 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 204 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 205 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 206 Hollywood-Style Chinese Blockbusters 206 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 207 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 208 Hollywood/Chinese Coproductions 208 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 209 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 210 Chinese Remakes of Hollywood Productions 210 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 211 Artificial Hollywood 211 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 212 Invisible Hollywood 212 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 213 The Rise of Bicultural Filmmakers 213 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 214 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 215 International Casting Choices 215 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 216 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 217 The Karate Kid Revisited 217 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 218 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 219 Works Cited 219 Notes: 219 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 220 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 221 Chinese Cinema With Hollywood Characteristics, or How The Karate Kid Became a Chinese Film 222 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 223 Abstract and Keywords 223 Pheng Cheah 223 Edited by Carlos Rojas 223 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 224 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 225 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 226 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 227 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 228 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 229 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 230 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 231 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 232 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 233 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 234 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 235 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 236 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 237 Works Cited 237 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 238 Notes: 238 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 239 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 240 World as Picture and Ruination: On Jia Zhangke’s as World Cinema 241 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 242 Abstract and Keywords 242 Stephen Teo 242 Edited by Carlos Rojas 242 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 243 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 244 Fei Mu’s Experiment 244 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 245 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 246 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 247 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 248 From Opera to Melody 248 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 249 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 250 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 251 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 252 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 253 Conclusion 253 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 254 Works Cited 254 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 255 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 256 Notes: 256 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 257 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 258 The Opera Film in Chinese Cinema: Cultural Nationalism and Cinematic Form 259 A Small History of Wenyi 260 Abstract and Keywords 260 Emilie Yueh-yu Yeh 260 Edited by Carlos Rojas 260 A Small History of Wenyi 261 A Small History of Wenyi 262 A Small History of Wenyi 263 A Small History of Wenyi 264 A Problem Genre, a Genre Problem 264 A Small History of Wenyi 265 A Small History of Wenyi 266 A Small History of Wenyi 267 Putting Wenyi Back into History 267 A Small History of Wenyi 268 A Small History of Wenyi 269 A Small History of Wenyi 270 A Small History of Wenyi 271 Conclusion: Bringing Wenyi Up Front 271 (p. 237) Appendix 12.1 Film Advertisements Featuring Keywords of Wenyi, Literature, and Literary Work (1920–1940) 271 A Small History of Wenyi 272 A Small History of Wenyi 273 A Small History of Wenyi 274 A Small History of Wenyi 275 A Small History of Wenyi 276 A Small History of Wenyi 277 A Small History of Wenyi 278 A Small History of Wenyi 279 A Small History of Wenyi 280 A Small History of Wenyi 281 A Small History of Wenyi 282 A Small History of Wenyi 283 A Small History of Wenyi 284 A Small History of Wenyi 285 A Small History of Wenyi 286 Works Cited 286 A Small History of Wenyi 287 A Small History of Wenyi 288 Notes: 288 A Small History of Wenyi 289 A Small History of Wenyi 290 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 291 Abstract and Keywords 291 Wang Ban 291 Edited by Carlos Rojas 291 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 292 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 293 (p. 252) Shanggan Ridge: Realism, Patriotism, and Technology 293 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 294 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 295 Art, Politics, and the Cold War 295 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 296 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 297 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 298 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 299 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 300 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 301 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 302 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 303 Family, Class, and Internationalism 303 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 304 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 305 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 306 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 307 Works Cited 307 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 308 Notes: 308 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 309 Art, Politics, and Internationalism: Korean War Films in Chinese Cinema 310 Edification Through Affection: The Cultural Revolution Films, 1974–1976 311 Abstract and Keywords 311 Gary Gang Xu 311 Edited by Carlos Rojas 311 Edification Through Affection: The Cultural Revolution Films, 1974–1976 312 Edification Through Affection: The Cultural Revolution Films, 1974–1976 313 Edification Through Affection: The Cultural Revolution Films, 1974–1976 314 Edification Through Affection: The Cultural Revolution Films, 1974–1976 315 Edification Through Affection: The Cultural Revolution Films, 1974–1976 316 Edification Through Affection: The Cultural Revolution Films, 1974–1976 317 Edification Through Affection: The Cultural Revolution Films, 1974–1976 318 Edification Through Affection: The Cultural Revolution Films, 1974–1976 319 Edification Through Affection: The Cultural Revolution Films, 1974–1976 320 Edification Through Affection: The Cultural Revolution Films, 1974–1976 321 Works Cited 321 Edification Through Affection: The Cultural Revolution Films, 1974–1976 322 Notes: 322 Edification Through Affection: The Cultural Revolution Films, 1974–1976 323 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 324 Abstract and Keywords 324 Michael Eng 324 Edited by Carlos Rojas 324 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 325 The Martial-Arts Film and the Political Unconscious 325 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 326 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 327 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 328 (p. 285) The Sick Man of Asia: Kung Fu Cinema and the Legacies of Colonial Modernity 328 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 329 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 330 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 331 Fist of Fury and the “Thwarted Narcissism” of the Chinese Male Body 331 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 332 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 333 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 334 The Racial Melancholia of Chinese Masculinity and Traumatic-Melancholic Cinematic Affect 334 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 335 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 336 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 337 Conclusion 337 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 338 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 339 Works Cited 339 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 340 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 341 Notes: 341 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 342 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 343 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 344 Reforming Vengeance: kung fu and the racial melancholia of chinese masculinity 345 Desire and Distribution: Queer/Chinese/Cinema 346 Abstract and Keywords 346 Sean Metzger 346 Edited by Carlos Rojas 346 Desire and Distribution: Queer/Chinese/Cinema 347 Desire and Distribution: Queer/Chinese/Cinema 348 Desire and Distribution: Queer/Chinese/Cinema 349 Genealogies 349 Desire and Distribution: Queer/Chinese/Cinema 350 Desire and Distribution: Queer/Chinese/Cinema 351 Desire and Distribution: Queer/Chinese/Cinema 352 (p. 307) Case 1: Naked Aliens 352 Desire and Distribution: Queer/Chinese/Cinema 353 Desire and Distribution: Queer/Chinese/Cinema 354 Desire and Distribution: Queer/Chinese/Cinema 355 Case 2: Animal Instincts 355 Desire and Distribution: Queer/Chinese/Cinema 356 Desire and Distribution: Queer/Chinese/Cinema 357 Case 3: Market States36 357 Desire and Distribution: Queer/Chinese/Cinema 358 Desire and Distribution: Queer/Chinese/Cinema 359 (p. 314) First Times and the Rise of Queer/Chinese/Cinema 359 Desire and Distribution: Queer/Chinese/Cinema 360 Works Cited 360 Desire and Distribution: Queer/Chinese/Cinema 361 Desire and Distribution: Queer/Chinese/Cinema 362 Notes: 362 Desire and Distribution: Queer/Chinese/Cinema 363 Desire and Distribution: Queer/Chinese/Cinema 364 Desire and Distribution: Queer/Chinese/Cinema 365 Desire and Distribution: Queer/Chinese/Cinema 366 Thirdspace Between Flows and Places: 367 Abstract and Keywords 367 Yingjin Zhang 367 Edited by Carlos Rojas 367 Thirdspace Between Flows and Places: 368 Thirdspace Between Flows and Places: 369 Globalization: Of Flows and Places 369 Thirdspace Between Flows and Places: 370 Thirdspace Between Flows and Places: 371 Thirdspace: Critical Thirding-as-Othering 371 Thirdspace Between Flows and Places: 372 Thirdspace Between Flows and Places: 373 Polylocality: Toward Multiple Translocal Networks 373 Thirdspace Between Flows and Places: 374 Thirdspace Between Flows and Places: 375 Intervention: Chinese Independent Documentary 375 Thirdspace Between Flows and Places: 376 Thirdspace Between Flows and Places: 377 Thirdspace Between Flows and Places: 378 Thirdspace Between Flows and Places: 379 (p. 332) Conclusion: In Between Performative Alterations 379 Thirdspace Between Flows and Places: 380 Thirdspace Between Flows and Places: 381 Works Cited 381 Thirdspace Between Flows and Places: 382 Thirdspace Between Flows and Places: 383 Thirdspace Between Flows and Places: 384 Thirdspace Between Flows and Places: 385 Notes: 385 Thirdspace Between Flows and Places: 386 Thirdspace Between Flows and Places: 387 Thirdspace Between Flows and Places: 388 Thirdspace Between Flows and Places: 389 Thirdspace Between Flows and Places: 390 Thirdspace Between Flows and Places: 391 Thirdspace Between Flows and Places: 392 From Anticorruption to Officialdom: The Transformation of Chinese Dynasty TV Drama 393 Abstract and Keywords 393 Ying Zhu 393 Edited by Carlos Rojas 393 From Anticorruption to Officialdom: The Transformation of Chinese Dynasty TV Drama 394 The Evolution of Chinese Dynasty TV Dramas 394 From Anticorruption to Officialdom: The Transformation of Chinese Dynasty TV Drama 395 From Anticorruption to Officialdom: The Tra "Offering both a platform for cross-disciplinary dialogue and a mapping of Chinese cinema as an expanded field, this Handbook presents thirty-three essays by leading researchers and scholars intent on yielding new insights and new analyses using three different methodologies. Chapters in Part I investigate the historical periodizations of the field through changing notions of national and political identity -- all the way from the industry's beginnings in the 1920s up to its current forms in contemporary Hong Kong, Taiwan, and the global diaspora. Chapters in Part II feature studies centered on the field's taxonomical formalities, including such topics as the role of the Chinese opera in technological innovation, the political logic of the "Maoist film," and the psychoanalytic formula of the kung fu action film. Finally, in Part III, focus is given to the structural elements that comprise a work's production, distribution, and reception to reveal the broader cinematic apparatuses within which these works are positioned. Taken together, the multipronged approach supports a wider platform beyond the geopolitical and linguistic limitations in existing scholarship. Expertly edited to illustrate a representative set of up to date topics and approaches, The Oxford Handbook of Chinese Cinemas provides a vital addition to a burgeoning field still in its formative stages." -- Publisher's description.