Transnational Chinese Cinemas : Identity, Nationhood, Gender

With the increasing popularity of the Chinese film industry, a large amount of foreign captial has been invested in the productions. Internationalization on this scale at both the production and consumption levels has raised the question of what constitutes "Chinese cinema". In this book the authors discuss the central topic of a national cinema and analyze the emergence of "transnational cinema" in Chinese film studies. Applying different methodologies and approaches, they explore the interrelations of national cinematic style, global capitalism, the evolution of the modern nation-state, cultural politics, censorship and gender identity. Among the film artists discussed are Cai Chusheng, Xie Jin, Chen Kaige, Zhang Yimou, Ang Lee and Jackie Chan. The volume opens with essays tracing the early decades of the 20th century, through to the Mao era and the age of transnational capitalism. Other essays consider what have been the peripheral and marginalized traditions in relation to mainstream Chinese cinema. Zhang Yimou's first film, Red Sorghum, took the Golden Bear Award in 1988 at the Berlin International Film Festival. Since then Chinese films have continued to arrest worldwide attention and capture major film awards, thus winning an international following that grows annually. With this increasing popularity, the Chinese film industry has attracted a sizable amount of foreign capital and has been involved in frequent joint productions. Internationalization on this scale at both the production and consumption levels has raised the question of what constitutes "Chinese cinema." In this collection, critics from various disciplines discuss the central topic of a national cinema and analyze the more recent emergence of "transnational cinema" in Chinese film studies. Applying different methodologies and approaches, they explore the interrelations of national cinematic style, global capitalism, the evolution of the modern nation-state, cultural politics, censorship, and gender identity.

Transnational Chinese Cinemas spans nearly the entire length of twentieth-century Chinese film history. The volume traces the evolution of Chinese national cinema, and demonstrates that gender identity has been central to its formation. Femininity, masculinity and sexuality have been an integral part of the filmic discourses of modernity, nationhood, and history.

This volume represents the most comprehensive, wide-ranging, and up-to-date study of China's major cinematic traditions. It is an indispensable source book for modern Chinese and Asian history, politics, literature, and culture and will be of great interest to teachers, students, and scholars of film studies, cultural studies, gender studies, comparative literature, nationalism, and transnational studies.

Zhang Yimou's first film, Red Sorghum, took the Golden Bear Award in 1988 at the Berlin International Film Festival. Since then Chinese films have continued to arrest worldwide attention and capture major film awards, winning an international following that continues to grow. Transnational Chinese Cinemas spans nearly the entire length of twentieth-century Chinese film history. The volume traces the evolution of Chinese national cinema, and demonstrates that gender identity has been central to its formation. Femininity, masculinity and sexuality have been an integral part of the filmic discourses of modernity, nationhood, and history. This volume represents the most comprehensive, wide-ranging, and up-to-date study of China's major cinematic traditions. It is an indispensable source book for modern Chinese and Asian history, politics, literature, and culture.