Items related to Chinese Films in Focus II
Synopsis
Chinese cinema continues to go from strength to strength. After art-house hits like Yellow Earth and In the Mood for Love, Crouching Tiger Hidden Dragon launched the new century by disproving the old myth that subtitled films could not succeed at the multiplex. Chinese Films in Focus II updates and expands its predecessor: Chinese Films in Focus: 25 New Takes with fourteen new essays, providing, in total, 35 in-depth and original readings of an individual Chinese film. Films from Mainland China, Taiwan, Hong Kong and other parts of the diaspora are all represented, and the historical coverage ranges from the 1930s to the present.
Leading international experts including Rey Chow, Yingjin Zhang, Berenice Reynaud, Kam Louie and Mary Farquhar join younger scholars to address significant and popular films such as Hero, Farewell My Concubine, Chungking Express, Crouching Tiger Hidden Dragon, Blind Shaft, Suzhou River and many more. This volume will be essential reading for students and fans of Chinese cinema.
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About the Author
Chris Berry is Professor of Film Studies atKing's College London, UK. His primary publications include: Cinema and theNational (2006); Postsocialist Cinema in Post-Mao China (2004), TheNew Chinese Documentary Film Movement (2010), Cultural Studies andCultural Industries in Northeast Asia (2009), TV China (2008), ChineseFilms in Focus II (2008) and Island on the Edge (2005).
From the Back Cover
Chinese cinema continues to go from strength to strength. After art-house hits like Chen Kaige's Yellow Earth (1984) and Wong Kar-wai's In the Mood for Love (2000), the Oscar-winning success of Ang Lee's Crouching Tiger Hidden Dragon (2000) disproved the old myth that subtitled films could not succeed at the multiplex. Chinese Films in Focus II updates and expands the original Chinese Films in Focus: 25 New Takes with fourteen brand new essays, to offer thirty-four fresh and insightful readings of key individual films. The new edition addresses films from mainland China, Taiwan, Hong Kong and other parts of the Chinese diaspora and the historical coverage ranges from the 1930s to the present.
The essays, by leading authorities on Chinese cinema as well as up-and-coming scholars, are concise, accessible, rich, and on the cutting edge of current research. Each contributor outlines existing writing and presents an original perspective on the film, making this volume a rich resource for classroom use, scholarly research and general reading for anyone wanting to understand more about the historical development and rich variety of Chinese cinema.
Contributors: Annette Aw, Chris Berry, Yomi Braester, Felicia Chan, Esther Cheung, Robert Chi, Rey Chow, Mary Farquhar, Carolyn FitzGerald, Ping Fu, Kristine Harris, Margaret Hillenbrand, Brian Hu, Tan See Kam, Haiyan Lee, Vivian Lee, Helen Hok-Sze Leung, David Leiwei Li, Song Hwee Lim, Kam Louie, Fran Martin, Jason McGrath, Corrado Neri, Jonathan Noble, Beremoce Reynaud, Cui Shuqin, Julian Stringer, Janice Tong, Yiman Wang, Faye Hui Xiao, Gang Gary Xu, Audrey Yue, Yingjin Zhang, John Zou
The Editor: Chris Berry is Professor of Film and Television at Goldsmiths, University of London.
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