East Asian Cinema:
A Selected Bibliography of Materials in the UC Berkeley Library












Pan-Asian and General Works

Chinese Cinema: General Works

Books
Journal Articles

Hong Kong Cinema: General Works

Japanese Cinema: General Works

Japanese Cinema: Anime

Korean Cinema:

Works on individual film makers/actors (China/Hong Kong)
Works on individual film makers (Japan)

South/Southeast Asian bibliography
Chinese Film Bibliography (Ohio State University)

Pan-Asian and General Works

Asian cinema -- yesterday, today and tomorrow
Editor, Myung-Kyu Park. Seoul : Korean Film Archive, 2002.
PFA : PN1993.5.A75 A84 2002
Contents: Preface / Hong-Taek Chung -- The past, the present and the future of Asian cinema / Dong-Ho Kim -- Reflection from the silent film era--Byunsa, the narrator / Hee-Moon Cho -- The current state of Korean film industry and its policies / Jin-Ryong Yoo -- History in film, film in history: the reproduction of collective memory / Gina Yu -- China Film Archive: its preservation and restoration work / Dong Liu -- Oral history project of the Hong Kong Film Archive / Ain-Ling Wong -- Films well-made and kept in Taiwan: a brief introduction to the film industry, film database and film archive in Taipei / Feii Lu -- Sharing the light growth in south east Asia / Ray Edmondson -- Singapore's film, radio and television history: an overview / Irene Lim Lei Lian -- Film Archive in Laos / Bounchao Phichit -- Audio-visual archiving in the Philippines: searching for a national archive / Ciodualdo del Mundo, Jr. -- Cinema Asiatique, singulier et universel: Oyuki la vierge be Mizoguchi dans le Reseau intertextuel filmique / Shiguehiko Hasumi -- Researching silent Japanese cinema: Japanese cinema as an academic adventure / Joanne Bernardi -- Indian cinema in the context of Asian cinema / P.K. Nair -- The life and times of Ruan Ling-Yu / Richard J. Meyer -- Iranian cinema: historical point of view / Fereydoun Khameneipour -- Introduction of the cinema archive of Mongolia / J. Solongo -- Status and challenges of film archive in the Republic of Uzbekistan / Yusup Razykov -- Preservation of Sri Lankan films yesterday, today and tomorrow / Don Ivan Weerakkody -- Film preservation in Japan: difficulties and hopes / Hisashi Okajima -- The topical film service and the establishment of Thai film industry / Chalida Uabumrungjit -- A decade the VFI overcame moulde and vinegar syndrome / Ngo Hieu Chi.

Asian Gothic : essays on literature, film and anime /
Edited by Andrew Hock Soon Ng. Jefferson, N.C. : McFarland & Company, c2008.
MAIN: PR9410.5 .A85 2008
Contents: Introduction: The Gothic visage of Asian narratives / Andrew Hock Soon Ng -- Postcolonial Asian Gothic literature. Naipaul, "Muslims" and the living dead / Wendy O'Shea-Meddour -- "Where meaning collapses" : Tunka Halim's Dark Demon Rising as global Gothic / Glennis Byron -- Ghosts of a demolished cityscape : Gothic experiments in Singaporean fiction / Tamara S. Wagner -- Seeing through the evil eye : Meiling Jin's Caribbean counter Gothic in Gifts from My Grandfather / Paula K. Sato -- Encrypted ancestries : Kazuo Ishigoro's The Remains of the Day and its uncanny inheritances / Hilary Thompson -- Asian American Gothic literature. Sky Lee's Disappearing Moon Cafe : a testimony of incorporation / Nieves Pascual Soler -- Ghostly rhetoric of autobiography : Maxine Hong Kingston's The Woman Warrior as American Gothic narrative / Carol Mejia-LaPerle -- Asian American hyphen goes Gothic : ghosts and doubles in Maxine Hong Kingston and le thi diem thuy / Belinda Kong -- Gothic aesthetics of entanglement and endangerment in David Henry Hwang's The Sound of a Voice and The House of Sleeping Beauties / Kimberly Jew -- Gothic tradition in Chinese, Japanese, Korean and Turkish literature. Reading Shi Zhecun's "Yaksha" against the Shanghai modern / Hongbing Zhang -- "Disappearing with the Double" : Xu Xi's The Stone Window / Amy Lai -- Asian cell and horror / Shen-mei Ma -- Western Eastern : decoding hybridity and cyberzen Gothic in Vampire Hunter D (1985) / Wayne Stein, John Edgar Browning -- Grotesque and Gothic comedy in Turkish shadow plays / Ayse Didem Uslu. "Broadly divided into essays on postcolonial Asian Gothic, Asian-American Gothic, and Gothic writings of specific Asian nations. The essays of Part One demonstrate flexibility in adopting divergent. Part Two evokes Gothic as theoretical framework from which to interrogate writings of Asian-American authors. Part Three studies Gothic tradition in national literatures of China, Japan, Korea, and Turkey"--Provided by publisher.

Carter, David, Dr.
East Asian cinema Harpenden : Kamera, 2007.
MAIN: PN1993.5.E19 C37 2007

Colonialism and nationalism in Asian cinema
Edited by Wimal Dissanayake. Bloomington : Indiana University Press, c1994.
MAIN: PN1993.5.A75 C65 1994
PFA : PN1993.5.A75 C65 1994

Contemporary Asian cinema : popular culture in a global frame
Edited by Anne Tereska Ciecko. Oxford ; New York : Berg, 2006.
Main Stack PN1993.5.A75.C655 2006
Moffitt PN1993.5.A75.C655 2006

East Asian cinemas : exploring transnational connections on film
Edited by Leon Hunt and Leung Wing-Fai. London : New York : I.B. Tauris, 2008.
MAIN: PN1993.5.E19 E27 2008

How East Asian films are reshaping national identities : essays on the cinemas of China, Japan, South Korea, and Hong Kong /
Edited by Andrew David Jackson, Michael Gibb, and Dave White ; with a foreword by Hyangjin Lee. Lewiston, N.Y. : Edwin Mellen Press, c2006.
MAIN: PN1995.9.N353 H69 2006
Contents: Natural culturalism in Narayamabushi-ko (The ballad of Narayama): a study of Shohei Imamura's thematic concerns / Lee Wood Hung -- History, film and national myth: the Opium War revisited / Martin Gieselmann -- Cinematic representations of the Chinese Cultural Revolution / Ming-May Jessie Chen -- After the Fin de Si?ecle: the post-nostalgic imagination in Qianyan wanyu (Ordinary Heroes) and Fruit Chan's Xilu xiang (Little Cheung) / Vivian Lee -- Neither here nor there: positive responses to modernity in South Korean film / Michael Gibb and Andrew Jackson -- The new cinematic language of South Korean film / Andrew Jackson -- The little (Chinese) mermaid, or importing "Western" femininity in Lou Ye's Suzhou he (Suzhou River) / Sean Metzger -- The mainland "other" in the Hong Kong commercial mainstream: political change and cultural adaptation / Vivian Lee -- Minorities in Japan as seen in recent Japanese cinema / Dave White -- From musicals to martial arts: fifty years of Hong-Kong Japanese cinematic cooperation / Kinnia Yau Shuk Ting -- History of Japanese pornographic films in Hong Kong and their impact on Hong Kong category 3 films / Benjamin Wai-ming Ng -- Asia the invincible: discourses of regionalism in Dong fang bu bai 2: zhi feng yun zai qi (The East is Red) and Wo hu cang long (Crouching Tiger, Hidden Dragon) / Olivia Khoo -- Transnational popular culture and the tension of regional identity: a ban on Chun guang zha xie (Happy Together) in South Korea / Lee Hyung-sook.

Horror to the extreme : changing boundaries in Asian cinema
Edited by Jinhee Choi and Mitsuyo Wada-Marciano. Hong Kong : Hong Kong University Press ; London : Eurospan [distributor], c2009.
Main (Gardner) Stacks PN1995.9.H6 H757 2009

Huat, Chua Beng; Leary, Charles.
"Introduction: Violence in contemporary Asian cinema." New Cinemas: Journal of Contemporary Film, 2011, Vol. 8 Issue 3, p147-153, 7p,
An introduction to the journal is presented in which the editor discusses various reports published within the issue including one by Krishna Sen on the relationship between the grammar of the Indonesian language and violence in Indonesian cinema, one by Stephen Teo on violence in Hong Kong, China action films, and one by Ma Ning on violence in Chinese cinema.

Lent, John A.
The Asian film industry Bromley : Christopher Helm, 1990.
MAIN: PN1993.5.A78 L4 1990
PFA : PN1993.5.A75 L46 1990

Melodrama and Asian cinema
Edited by Wimal Dissanayake. Cambridge ; New York : Cambridge University Press, 1993.
Main Stack PN1993.5.A75.M45 1993
Contents: Melodrama/subjectivity/ideology : Western melodrama theories and their relevance to recent Chinese cinema / E. Ann Kaplan -- Symbolic representation and symbolic violence : Chinese family melodrama of the early 1980s / Ma Ning -- The goddess : reflections on melodrama East and West / William Rothman -- Melodrama as historical understanding : the making and unmaking of communist history / Yuejin Wang -- Melodrama, postmodernism, and Japanese cinema / Mitsuhiro Yoshimoto -- Inscribing the subject : the melodramatization of gender in An actor's revenge / Scott Nygren -- Insides and outsides : cross-cultural criticism and Japanese film melodrama / Catherine Russell -- Psyches, ideologies, and melodrama : the United States and Japan / Maureen Turim.

Queer Asian cinema : shadows in the shade
Andrew Grossman, editor. New York : Harrington Park Press, c2000.
MAIN: PN1995.9.H55 Q39 2000
PFA : PN1995.9.H55 Q39 2000

Server, Lee.
Asian pop cinema : Bombay to Tokyo San Francisco : Chronicle Books, c1999.
MAIN: PN1993.5.A75 S37 1999
PFA : PN1993.5.A75 S37 1999

Teo, Stephen.
"Promise and perhaps love: Pan-Asian production and the Hong Kong-China interrelationship." Inter-Asia Cultural Studies, Sep2008, Vol. 9 Issue 3, p341-358, 18p

Weisser, Thomas
Asian cult cinema Published: New York : Boulevard Books, 1997.
PFA : PN1993.5.A75 W45 1997

China

Books

Berry, Chris
China on screen : cinema and nation New York : Columbia University Press, c2006.
MAIN: PN1993.5.C4 B44 2006

Berry, Chris.
"If China Can Say No, Can China Make Movies? Or, Do Movies Make China? Rethinking National Cinema and National Agency." In: Modern Chinese Literary and Cultural Studies in the Age of Theory: Reimagining a Field. Chow, Rey, ed.
Main Stack DS775.2.M63 2000

Berry, Chris.
Postsocialist cinema in post-Mao China : the cultural revolution after the Cultural Revolution New York: Routledge, 2004.
MAIN: PN1993.5.C4 B47 2004
Table of contents http://www.loc.gov/catdir/toc/ecip0411/2003026390.html

Berry, Michael.
Speaking in images : interviews with contemporary Chinese Filmmakers New York : Columbia University Press, c2005. Global Chinese culture
Main PN1993.5.C4 B49 2005
PFA PN1993.5.C4 B49 2005

Braester, Yomi.
Witness against history: literature, film, and public discourse in twentieth-century China Stanford, Calif.: Stanford University Press, 2003.
UCB Main PL2303 .B73 200

Chang, Hsu-tung.
Chinese modernism in the era of reforms: cultural fever, avant-garde fiction, and the new Chinese cinema / Xudong Zhang. Durham, NC: Duke University Press, 1997. Series title: Post-contemporary interventions.
UCB CenChiStu PL2303 .C39 1997
UCB Main PL2303 .C39 1997

Chen, Xiaoming.
"The Mysterious Other: Postpolitics in Chinese Film." In: Postmodernism & China / edited by Arif Dirlik and Xudong Zhang. pp: 222-38. Durham [N.C.]: Duke University Press, 2000.
Chinese Stdy DS779.23.P675 2000
Main Stack DS779.23.P675 2000

Cheng, Jim.
An annotated bibliography for Chinese film studies (Zhongguo dian ying yan jiu shu mu ti yao) Hong Kong : Hong Kong University Press, c2004.
CCSL: PN1993.5.C4 C43 2004
MAIN: PN1993.5.C4 C43 2004
PFA : PN1993.5.C4 C43 2004;

Chinese connections : critical perspectives on film, identity and diaspora
Edited by Tan See-Kam, Peter X. Feng, and Gina Marchetti. Philadelphia : Temple University Press, 2009.
Main (Gardner) Stacks PN1993.5.C4 C45 2009
Contents: False consciousness and double consciousness: race, virtual reality, and the assimilation of Hong Kong action cinema in The matrix / Peter X. Feng -- The par-Asian cinematic imaginary in Olivier Assayas's Irma Vep / Grace An -- The HK venture: the Francophone cine-logocentric nexus / Aaron Han Joon Magnan-Park -- Wong Fei-Hung in da house: Hong Kong martial-arts films and hip-hop culture / Frances Gateward -- Same difference: racial masculinity in Hong Kong and cop-buddy "hybrids" / Gayle Wald -- American popular music and neocolonialism in the films of Edward Yang / Emilie Yueh-yu Yeh -- Hollywood and Taiwan: connections, countercurrents, and Ang Lee's Hulk / Gina Marchetti -- Becoming Hollywood? Hong Kong cinema in the new century / Chuck Kleinhans -- "From behind the wall": the representation of gender and sexuality in modern Chinese film / Zhou Xuelin -- Beyond the western gaze: Orientalism, feminism, and the suffering woman in nontransnational Chinese cinema / Andrew Grossman -- Disappearing faces: bisexuality and transvestism in two Hong Kong comedies / Helen Hok-Sze Leung -- Staging gay life in China: Zhang Yuan and East palace, west palace / Chris Berry -- Whose fatal ways: mapping the boundary and consuming the other in border crossing films / Li-Mei Chang -- Asian martial-arts cinema, dance, and the cultural languages of gender / Aaron D. Anderson -- Singapore as a society of strangers: Eric Khoo's Mee pok man, 12 storeys, and Be with me / Tan See-Kam -- Chinese cinema revisits the city: Beijing trilogy and global urbanism of the 1990s / Jenny Kwok-Wah Lau -- Taiwan fever? Tsai Ming-Liang and the everyday postnation / Peter Hitchcock -- The spirits of capital and haunting sounds: translocal historicism in victim (1999) / Esther C.M. Yau -- Zhang Yimou's hero: the temptations of fascism / Evans Chan.

Chinese film: the state of the art in the People's Republic
Edited by George Stephen Semsel. New York: Praeger, 1987.
UCB CenChiStu PN1993.5.C4 C461 1987
UCB Grad Svcs PN1993.5.C4 C46 1987
UCB Main PN1993.5.C4 C461 1987
UCB Moffitt PN1993.5.C4 C46 1987

Chinese film theory: a guide to the new era
Edited by George S. Semsel, Xia Hong, and Hou Jianping; translated by Hou Jianping, Li Xiaohong, and Fan Yuan; foreword by Luo Yijun. New York: Praeger, 1990.
UCB CenChiStu PN1993.5.C4 C443 1990
UCB Main PN1993.5.C4 C443 1990

Chinese films in focus : 25 new takes
Edited by Chris Berry. London : BFI Publishing, 2003.
Main Stack PN1993.5.C4.C463 2003

Chinese-language film : historiography, poetics, politics
Edited by Sheldon H. Lu and Emilie Yueh-yu Yeh. Honolulu : University of Hawaii Press, c2005.
CCSL: PN1993.5.C4 C463 2005
MAIN: PN1993.5.C4 C463 2005

Chinese women's cinema : transnational contexts
Edited by Lingzhen Wang. New York : Columbia University Press, c2011.
Main (Gardner) Stacks PN1993.5.C4 C4635 2011
Contents: Introduction : transnational feminist reconfiguration of film discourse and women's cinema / Lingzhen Wang -- pt. I : Female authorship negotiated in different times, spaces, and genres. Socialist cinema and female authorship : overdetermination and subjective revisions in Dong Kena's Small grass grows on the Kunlun Mountain (1962) / Lingzhen Wang -- Masochist men and normal women : Tang Shu Shuen and The Arch (1969) / Yau Ching -- Migrating hearts : the cultural geography of Sylvia Chang's melodrama / Zhen Zhang -- pt. II. Gendered voices : images and affect. The voice of history and the voice of women : a study of Huang Shuqin's women's films / Xingyang Li ; translated by Thomas Moran -- Post-Taiwan new cinema women directors and their films : auteurs, images, language / Yu-Shan Huang and Chun-Chi Wang ; translated by Robin Visser and Thomas Moran -- Affect, memory, and trauma past tense in Hu Mei's Army nurse (1985) and Xu Jinglei's Letter from an unknown woman (2004) / E. Ann Kaplan. pt. III. The visual subject and feminist cinema. The encoding of female subjectivity : four films by China's fifth-generation women directors / S. Louisa Wei -- From Mao's "continuous revolution" to Ning Ying's Perpetual motion (2005) : sexual politics, neoliberalism, and postmodern China / Gina Marchetti -- Searching for female sexuality and negotiating with feminism : Li Yu's film trilogy / Shuqin Cui -- pt. IV. Female writing, performance, and issues of cinematic agency. To write or to act, that is the question : 1920s to 1930s Shanghai actress-writers and the death of the "new woman" / Yiman Wang -- Gender, genre, and performance in Eileen Chang's films : equivocal contrasts across the print-screen divide / Yingjin Zhang -- Chu T'ien-wen and the sotto voce of gendered expression in the films of Hou Hsiao-Hsien / Christopher Lupke -- To become an auteur : the cinematic maneuverings of Xu Jinglei / Jingyuan Zhang -- pt. V. Migration, diaspora, and transcultural practice of gender and cinema. In search of Esther Eng : border-crossing pioneer in Chinese-language filmmaking / Kar Law ; translated by Chris Tong -- Transpacific waves in a global sea : Mabel Cheung Yuen-Ting's cinematic archive / Staci Ford -- Filming one's way home : Clara Law's Letters to Oz / Shiao-Ying Shen.

Chow, Rey.
Ethics after idealism: theory, culture, ethnicity, reading / Rey Chow. Bloomington: Indiana University Press, c1998. Series title: Theories of contemporary culture v. 20.
UCB Main NX180.S6 C48 1998

Chow, Rey.
"Against the lures of Diaspora: minority discourse, Chinese women, and intellectual hegemony." In: Theorizing diaspora : a reader / edited by Jana Evans Braziel and Anita Mannur. Malden, MA : Blackwell Pub., 2003.
Main Stack JV6032.T44 2003

Chow, Rey.
Primitive passions: visuality, sexuality, ethnography, and contemporary Chinese cinema / Rey Chow. New York: Columbia University Press, c1995. Series title: Film and culture.
UCB CenChiStu PN1993.5.C4 C465 1995
UCB Grad Svcs PN1993.5.C4 C465 1995
UCB Main PN1993.5.C4 C465 1995

Chow, Rey.
Sentimental fabulations, contemporary Chinese films : attachment in the age of global visibility New York : Columbia University Press, c2007.
MAIN: PN1993.5.C4 C467 2007
PFA : PN1993.5.C4 C467 2007
Table of contents http://www.loc.gov/catdir/toc/ecip075/2006039237.html

Cinema and cultural identity: reflections on films from Japan, India, and China
Edited by Wimal Dissanayake. Lanham, MD: University Press of America, c1988.
UCB Main PN1993.5.A75 C56 1988
UCB Moffitt PN1993.5.A75 C56 1988

Cinema and urban culture in Shanghai, 1922-1943
Edited and with an introduction by Yingjin Zhang. Stanford, Calif.: Stanford University Press, 1999.
UCB CenChiStu PN1993.5.C4 C565 1999
UCB Main PN1993.5.C4 C565 1999

Cinematic landscapes: observations on the visual arts and cinema of China and Japan
Edited by Linda C. Ehrlich and David Desser. 1st ed. Austin, Tex.: University of Texas Press, 1994.
UCB Moffitt N72.M6 C55 1994

Clark, Paul
Chinese cinema: culture and politics since 1949 / Paul Clark. Cambridge [Cambridgeshire]; New York: Cambridge University Press, 1987. Series title: Cambridge studies in film.
UCB CenChiStu PN1993.5.C4 C581 1987
UCB Grad Svcs PN1993.5.C4 C58 1987
UCB Main PN1993.5.C4 C581 1987
UCB Moffitt PN1993.5.C4 C581 1987

Clark, Paul
Reinventing China : a generation and its films
Main Stack PN1993.5.C4 C582 2005
PFA : PN1993.5.C4 C581 2005

Cornelius, Sheila.
New Chinese cinema: challenging representations / Sheila Cornelius with Ian Haydn Smith. London ; New York: Wallflower, 2002. Short cuts (London, England) ; 11.
Main Stack PN1993.5.C4.C67 2002

Cui, Shuqin.
Women through the lens: gender and nation in a century of Chinese cinema / Shuqin Cui. Honolulu: University of Hawaii Press, c2003.
Main Stack PN1993.5.C4.C85 2003
Contents via Google books

Curtin, Michael.
Playing to the world's biggest audience : the globalization of Chinese film and TV Berkeley : University of California Press, c2007.
MAIN: PN1993.5.C4 C87 2007;
Table of contents http://www.loc.gov/catdir/toc/ecip0710/2007004610.html

Dai, Jinhua
Cinema and desire: feminist Marxism and cultural politics in the work of Dai Jinhua / Dai Jinhua ; edited by Jing Wang and Tani E. Barlow. London ; New York: Verso, 2002.
Main Stack PN1993.5.C4.D349 2002

Donald, Stephanie.
Public secrets, public spaces: cinema and civility in China / Stephanie Hemelryk Donald. Lanham, Md.: Rowman & Littlefield, c2000.
UCB CenChiStu PN1993.5.C4 D66 2000
UCB Main PN1993.5.C4 D66 2000

Eberhard, Wolfram
The Chinese silver screen; Hong Kong & Taiwanese motion pictures in the 1960's. [Taipei, Orient Cultural Service] 1972. Series title: Asian folklore and social life monographs; v. 23. Series title: Tung fang wen ts'ung.
NRLF B 3 569 421

Film in contemporary China: critical debates, 1979-1989
Edited by George S. Semsel, Chen Xihe, and Xia Hong; foreword by John Lent. Westport, Conn.: Praeger, 1993.
UCB CenChiStu PN1993.5.C4 F5 1993
UCB Main PN1993.5.C4 F5 1993

From May fourth to June fourth: fiction and film in twentieth-century China
Edited by Ellen Widmer, David Der-wei Wang. Cambridge, Mass.: Harvard University Press, 1993. Series title: Harvard contemporary China series; 9.
UCB CenChiStu PL2302 .F76 1993
UCB Main PL2302 .F76 1993

Fu, Poshek
Between Shanghai and Hong Kong: the politics of Chinese cinemas Stanford, Calif.: Stanford University Press, c2003.
MAIN: PN1993.5.C4 F8 2003

Glaessner, Verina. Kung Fu; cinema of vengeance
[by] Verina Glaessner. [New York] Bounty Books [1974].
UCB AsianAmer PN1995.9.G55 K8

Hu, Chu-pin.
Projecting a nation: Chinese national cinema before 1949 Hong Kong: Hong Kong University Press ; London: Eurospan, 2003.
MAIN: PN1993.5.C4 H78 2003

Island on the edge : Taiwan new cinema and after
Edited by Chris Berry and Feii Lu. Hong Kong : Hong Kong University Press, c2005.
MAIN: PN1993.5.T28 I85 2005

Jones, Dorothy B.
The portrayal of China and India on the American screen, 1896-1955: the evolution of Chinese and Indian themes, locales, and characters as portrayed on the American screen / Dorothy B. Jones. Cambridge, Mass.: Center for International Studies, Massachusetts Institute of Technology, 1955.
UCB Main PN1997.9.C6 .J65

Joris Ivens and China
Film Archive of China and the Editorial Department of New World Press. 1st ed. Beijing, China: New World Press: Distributed by China Publications Centre, 1983.
UCB CenChiStu PN1998.A3 I86829 1983

Kuoshu, Harry H.
Celluloid China: cinematic encounters with culture and society / Harry H. Kuoshu. Carbondale: Southern Illinois University Press, c2002.
Main Stack PN1995.K86 2002

Kuoshu, Harry H.
Lightness of being in China: adaptation and discursive figuration in cinema and theater / Harry H. Kuoshu. New York: P. Lang, c1999. Series title: Asian thought and culture vol. 37.
UCB Main PN1995.9.C36 K86 1999

Leyda, Jay
Dianying; an account of films and the film audience in China. Cambridge, Mass., MIT Press [1972].
UCB CenChiStu 6838.4 7443
UCB Main PN1993.5.C4 L4

Lim, Song Hwee
Celluloid comrades : representations of male homosexuality in contemporary Chinese cinemas Honolulu : University of Hawai'i Press, c2006.
Main Stack PN1995.9.H55.L56 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0612/2006012837.html

Lo, Kwai-Cheung.
Chinese Face/Off : The Transnational Popular Culture of Hong Kong / Kwai-Cheung Lo. Urbana ; Chicago : University of Illinois Press, c2005.
Anthropology DS796.H75.L557 2005

Lu, Hsiao-peng.
China, transnational visuality, global postmodernity / Sheldon H. Lu. Stanford, Calif.: Stanford University Press, 2001.
Chinese Stdy DS779.23.L82 2001
Main Stack DS779.23.L82 2001

Lu, Sheldon H..
"Representing the Chinese Nation-State in Filmic Discourse." In: East of West: cross-cultural performance and the staging of difference / edited by Claire Sponsler and Xiaomei Chen. pp: 111-23. New York: Palgrave, 2000.
Main Stack PN56.E78.E18 2000

Lu, Tonglin.
Confronting modernity in the cinemas of Taiwan and Mainland China / Tonglin Lu. Cambridge, UK; New York: Cambridge University Press, 2002.
UCB Main PN1993.5.T28 L828 2002

Marion, Donald J.
The Chinese filmography: the 2444 feature films produced by studios in the People's Republic of China from 1949 through 1995 / by Donald J. Marion. Jefferson, N.C.: McFarland & Co., c1997.
UCB Main PN1993.5.C4 M37 1997

McGrath, Jason
Postsocialist modernity : Chinese cinema, literature, and criticism in the market age Stanford, Calif. : Stanford University Press, 2008.
MAIN: HM621 .M372 2008

Multiple modernities : cinemas and popular media in transcultural East Asia
Edited by Jenny Kwok Wah Lau. Philadelphia, PA : Temple University Press, c2003.
Main Stack PN1993.5.E19.M75 2003

New Chinese cinemas: forms, identities, politics
Edited by Nick Browne ... [et al.]. Cambridge [England]; New York: Cambridge University Press, 1994.
UCB Cen ChiStu PN1993.5.C4 N49 1994
UCB Main PN1993.5.C4 N49 1994
UCB Moffitt PN1993.5.C4 N49 1994
Contents via Google books

Ni, Chen.
Memoirs from the Beijing Film Academy: the genesis of China's fifth generation / Ni Zhen ; translated by Chris Berry. Durham: Duke University Press, 2002. Asia-Pacific.
Main Stack PN1993.5.C4.N52 2002

Ning, Wang.
"'Localization' and 'Decolonization': Contemporary Chinese Cinema." In: International Comparative Literature Association. Congress (15th: 1997: Leiden, Netherlands) Colonizer and colonized / edited by Theo d'Haen and Patricia Krus. pp: 151-60. Amsterdam ; Atlanta, GA: Rodopi, 2000. International Comparative Literature Association. Congress (15th: 1997: Leiden, Netherlands). Proceedings of the XVth Congress of the International Comparative Literature Association "Literature as cultural memory"; v. 2. Text (Rodopi (Firm)) ; 26.
Main Stack PN56.C63.C656 1997

Pang, Laikwan
Building a new China in cinema: the Chinese left-wing cinema movement, 1932-1937 / Laikwan Pang. Lanham, Md.: Rowman & Littlefield Publishers, c2002.
Main Stack PN1993.5.C4.P36 2002

Pang, Laikwan
Cultural control and globalization in Asia : copyright, piracy, and cinemaLondon ; New York : Routledge, 2006.
MAIN: KM380 .P36 2006
PFA : KM380 .P36 2006
Table of contents http://www.loc.gov/catdir/toc/ecip0510/2005009265.html

Perspectives on Chinese cinema
Edited by Chris Berry. Ithaca, N.Y.: China-Japan Program, Cornell University, c1985. Series title: Cornell University East Asia papers no. 39.
UCB CenChiStu PN1993.5.C4 P471 1985
UCB Main PN1993.5.C4 P471 1985

Perspectives on Chinese cinema
Edited by Chris Berry. [2nd, expanded ed.]. London: BFI Pub., 1991.
UCB CenChiStu PN1993.5.C4 P47 1991
UCB Grad Svcs PN1993.5.C4 P47 1991

Schell, Orville.
Virtual Tibet: seaching for Shangri-la from the Himalayas to Hollywood / Orville Schell. 1st ed. New York: Metropolitan books, 2000.
UCB Grad Svcs DS786 .S295 2000
UCB Main DS786 .S295 2000
UCB Moffitt DS786 .S295 2000
UCB Morrison DS786 .S295 2000

Shen, Vivian
The origins of left-wing cinema in China, 1932-37 Published: New York : Routledge, 2005.
MAIN: PN1993.5.C4 S52 2005; circ info
Table of contents http://www.loc.gov/catdir/toc/ecip0421/2004018132.html

Silbergeld, Jerome.
China into film: frames of reference in contemporary Chinese cinema / Jerome Silbergeld. London: Reaktion, 1999. Series title: Envisioning Asia.
UCB Main PN1994 .S55 1999

Silbergeld, Jerome.
Hitchcock with a Chinese face : cinematic doubles, Oedipal triangles, and China's moral voice Seattle: University of Washington Press, c2004.
MAIN: PN1993.5.C4 S825 2004

Tam, Kwok-kan
New Chinese cinema / Kwok-kan Tam & Wimal Dissanayake. Hong Kong; New York: Oxford University Press, 1998. Series title: Images of Asia.
UCB CenChiStu PN1993.5.C4 T34 1998
UCB Main PN1993.5.C4 T34 1998

Tibrand, Andreas.
Representations - Practice - Spectatorship : a study of haptic relations between independent cinema and market-led urbanization in contemporary China Lund : Centre for East and South-East Asian Studies, Lund University, 2008.
MAIN: PN1993.5.C4 T53 2008

Transnational Chinese cinemas: identity, nationhood, gender
Edited by Sheldon Hsiao-peng Lu. Honolulu, HI: University of Hawaii Press, 1997.
Full text available online (UCB users only)
UCB AsianAmer PN1993.5.C4 T65 1997
UCB CenChiStu PN1993.5.C4 T65 1997
UCB Main PN1993.5.C4 T65 1997

Turim, Maureen Cheryn
"The erotic in Asian cinema." In: Dirty looks: women, pornography, power / edited by Pamela Church Gibson and Roma Gibson.p. 81-89. London: BFI Publishing, 1993.
Grad Svcs HQ471.D57 1993 Non-circulating; may be used only in Graduate Services.
Main Stack HQ471.D57 1993
Moffitt HQ471.D57 1993

Udden, James.
"Taiwan." In: The cinema of small nations / edited by Mette Hjort and Duncan Petrie. Bloomington : Indiana University Press, c2007.
Main Stack PN1994.C39 2007

The urban generation : Chinese cinema and society at the turn of the twenty-first century
Zhang Zhen, editor. Durham : Duke University Press, 2007.
MAIN: PN1993.5.C4 U73 2007
PFA : PN1993.5.C4 U73 2007
Table of contents http://www.loc.gov/catdir/toc/ecip072/2006032812.html

Wang Ning
"Chinese cinema challenged by globalisation." In: Cultural studies in China / edited by Tao Dongfeng & Jin Yuanpu. Singapore : Marshall Cavendish Academic, 2005.
Main Stack DS721.C85 2005

Xu, Gary G.
Sinascape : contemporary Chinese cinema Lanham : Rowman & Littlefield Publishers, c2007.
MAIN: PN1993.5.C4 X8 2007;
Table of contents http://www.loc.gov/catdir/toc/ecip0616/2006021950.html

Yang, Jeff.
Once upon a time in China: a guide to Hong Kong, Taiwanese, and mainland Chinese cinema New York: Atria Books, 2003.
MAIN: PN1993.5.C4 Y37 2003

Yau, Esther C. M.
"Compromised Liberation: The Politics of Class in Chinese Cinema of the Early 1950s." In: The hidden foundation: cinema and the question of class / David E. James. pp: 138-71. and Rick Berg, editors. Minneapolis, Minn.: University of Minnesota Press, c1996.
UCB Main PN1995.9.P6 H5 1996

Yau, Kinnia Shuk-ting.
Japanese and Hong Kong film industries : understanding the origins of East Asian film networks London ; New York : Routledge, 2010.
Main (Gardner) Stacks PN1993.5.J3 Y388 2010

Yeh, Emilie Yueh-yu.
Taiwan film directors : a treasure islandNew York : Columbia University Press, c2005.
PFA : PN1993.5.T28 Y43 2005
MAIN: PN1998.2 .Y44 2005

Zhang, Yingjin.
Chinese national cinema New York: Routledge, 2004.
MAIN: PN1993.5.C4 Z49 2004; circ info
Electronic Location(s): Table of contents http://www.loc.gov/catdir/toc/ecip0410/2003023574.html
Contents via Google books

Zhang, Yingjin.
The city in modern Chinese literature & film: configurations of space, time, and gender / Yingjin Zhang. Stanford, Calif.: Stanford University Press, c1996.
UCB CenChiStu PL2303 .Z43 1996
UCB Main PL2303 .Z43 1996
UCB Moffitt PL2303 .Z43 1996

Zhang, Yingjin.
Encyclopedia of Chinese film / Yingjin Zhang and Zhiwei Xiao; with additional contributions from Ru-shou Robert Chen ... [et al.]; edited by Yingjin Zhang. London; New York: Routledge, 1998.
UCB CenChiStu PN1993.5.C4 Z53 1998 Reference
UCB Main PN1993.5.C4 Z53 1998
UCB Media Ctr PN1993.5.C4 Z53 1998

Zhang, Yingjin.
Screening China: critical interventions, cinematic reconfigurations, and the transnational imaginary in contemporary Chinese cinema / Yingjin Zhang. Ann Arbor, Mich.: Center for Chinese Studies, c2002. Michigan monographs in Chinese studies ; no. 92.
Main Stack PN1993.5.C4.Z54 2002

Zhang, Zhen
An amorous history of the silver screen : Shanghai cinema, 1896-1937 Chicago, Ill. : University of Chicago Press ; Bristol : University Presses Marketing [distributor], 2005.
MAIN: PN1993.5.C4 Z546 2005
PFA : PN1993.5.C4 Z42 2005;

Zhang, Zhen
"Cosmopolitan projections : world literature on Chinese screens." In: A companion to literature and film / edited by Robert Stam, Alessandra Raengo. Malden, MA ; Oxford : Blackwell Pub., 2004.
Main Stack PN1995.3.C65 2004
Table of contents http://www.loc.gov/catdir/toc/ecip0421/2004017778.html

Zhu, Ying
Chinese cinema during the era of reform: the ingenuity of the system Westport, Conn.: Praeger, 2003.
Main Stack PN1993.5.C4 Z58 2003

Journal Articles

Berry, Chris.
"Happy Alone? Sad Young Men in East Asian Gay Cinema." (Critical Essay) Journal of Homosexuality (June, 2000):187.
UC users only
Author Abstract: "This essay chooses as its texts three films representing contemporary gay male subjects from each of the "three" China's: HK, Taiwan, and the Mainland. Relocating the homoerotic image of the "sad young man," a trope popular from Hollywood rebellion films of the 1950s and 1960s, to contemporary China, I discuss how this masculine icon has been transformed from one of heroic rebellion to one of existential isolation. Indeed, as the politics of both the outmoded Confucian family and fractured Chinese nationhood intersect, what the sad young (gay) man rebels against is a political fluctuation which is no longer fixed; as the young man's opposition is no longer fixed, so too does he become alienated even from his own rebellious cause." [Article copies available for a fee from The Haworth Document Delivery Service: 1-800-342-9678. E-mail address: Website: <http://www.HaworthPress.com>] COPYRIGHT 2000 Haworth Press, Inc.

Berry, Chris.
"If China Can Say No, Can China Make Movies? Or, Do Movies Make China? Rethinking National Cinema and National Agency." Boundary 2-An International Journal of Literature & Culture. 25(3):129-50. 1998 Fall
UC users only

Berry, Michael
"China: 21st-century tiger." Sight & Sound v. ns16 no. 9 (September 2006) p. 24-8
UC users only
"A discussion of how China's rapid economic surge has affected its film industry. Evidence of China's economic transformation can be found in the narratives of such films as Feng Xiaogang's Big Shot's Funeral (2001) and Shang Yimou's Happy Times (2000). The economic changes have been felt even more powerfully in the infrastructure of the film industry in China. For example, film production has become increasingly diversified and often huge in scale. Moreover, a new form of cinema has emerged. A combination of new stories provided by the changing social order and more accessible and advanced technology has inspired such landmark digital-video productions as Zhu Wen's Seafood (2001) and Jia Zhangke's Unknown Pleasures. Despite all the changes, however, censorship and the obstacles put up by China's Film Bureau are still major challenges for Chinese filmmakers." [Art Index]

Berry, Chris
"'Race': Chinese Film and the Politics of Nationalism." Cinema Journal, Vol. 31, No. 2 (Winter, 1992), pp. 45-58
UC users only

Berry, Chris; Xiujun, He.
"Leftist Chinese cinema of the thirties." Cineaste, 1990, Vol. 17 Issue 3, p36, 2p
UC users only

Bordwell, David.
"Transcultural Spaces: Toward a Poetics of Chinese Film." Post Script: Essays in Film & the Humanities. 20(2-3):9-24. 2001 Winter-Summer
UC users only

Braester, Yomi.
"From Real Time to Virtual Reality: Chinese Cinema in the Internet Age." Journal of Contemporary China. 13 (38): 89-104. 2004 Feb.
UC users only
"What has become of the collective memory in the years between the Tian'anmen incident of 1989 and the PRC joining the WTO in 2001, a period that witnessed the proliferation of McDonalds restaurants and Internet bars in Chinese cities? This paper explores the changing values through three works that take the World Wide Web as their subject, namely Love in the Internet Age, also known as Love in Cyberspace (Wanglu shidai de aiqing, 1999), Q3 (1999), and First Intimate Encounter, also known as Flyin' Dance (Diyici de qinmi jiechu, 2001). The films do not offer a single vision of cyberspace, nor do they ascribe to the same filmic aesthetics or genre. Yet as a whole they provide a glimpse of China in the Internet age. They suggest that from a repository of collective memory, cyberspace has become the arena for an alternative existence free of the limitations of time and space. They trace the trajectory from a culture insistent on collective commemoration to a society willing to suspend its consciousness outside historical memory." [Expanded Academic Index]

Braester, Yomi.
"Chinese Cinema in the Age of Advertisement: The Filmmaker as a Cultural Broker." China Quarterly; Sep2005 Issue 183, p549-564, 16p

Carson, Diane
"Chinese Film: Sources and Resources" Cinema Journal, Vol. 34, No. 4 (Summer, 1995), pp. 83-88
UC users only

Chan, Evans.
"Chinese Cinema at the Millennium (Part One)." Asian Cinema. 15 (1): 90-115. 2004 Spring-Summer

Chen, Xiaoming.
"The Chinese Cinema in the Reform Era." Journal of Popular Film and Television, Spring 2000 v28 i1 p36
UC users only

Chen, Xiaoming, Liu Kang, Anbin Shi.
"The mysterious other: postpolitics in Chinese film." (Postmodernism and China) boundary 2 Fall 1997 v24 n3 p123(19)
UC users only
"Politics is one of the most significant symbols in Chinese cinematic narratology toward the end of the 20th century. Postpolitics animates Chinese native cultural production and responds to Western images of Chinese culture. Contemporary Chinese film transforms politics into revolutionary narrative, and accepts the responsibility to present China as Other to the rest of the world." [Expanded Academic Index]

Corliss, Richard.
"From Asia's Film Factories, 10 Golden Greats." (TIME 100)(Review) Time International v154, n7/8 (August 23, 1999):115+.

Cui, Shuqin.
"Working from the Margins: Urban Cinema and Independent Directors in Contemporary China." Post Script: Essays in Film & the Humanities. 20(2-3):77-93. 2001 Winter-Summer
UC users only

Chung, Stephanie Po-Yin
"Moguls of the Chinese Cinema: The Story of the Shaw Brothers in Shanghai, Hong Kong and Singapore, 1924-2002." Modern Asian Studies, vol. 41, no. 4, pp. 665-82, July 2007

Deslandes, Jeanne.
"Dancing shadows of Film Exhibition: Taiwan and the Japanese Influence." Screening the Past: An International Electronic Journal of Visual Media and History 2000 (11). 11 January 2000
"The strong Japanese influence on Taiwanese film production and distribution during its occupation of the island during the first half of the 20th century, followed by that of China throughout its occupation, delayed the advent of an independent Taiwanese film industry and a unique Taiwanese expression of artistic identity in film until the late 20th century." [Historical Abstracts]

Desser, David.
"Trends and concepts in Chinese cinema. (National Conference of the Society for Cinema Studies, New Orleans, Louisiana, April 3-6, 1986)." Quarterly Review of Film Studies 10.n4 (April 1989): 357(3).

Farquhar, Mary. Berry, Chris.
"Shadow Opera: Towards a New Archaeology of the Chinese Cinema." Post Script: Essays in Film & the Humanities. 20(2-3):25-42. 2001 Winter-Summer
UC users only

Fitzhenry, Michael; Zhang, Xuelian
"Internal Screening: the new independent cinema between Hollywood and China." Film International v. 5 no. 1 (2007) p. 45-7, 50-7
UC users only

Fox, Daniel.
"For fun and the killer: directions in Chinese cinema." Literature-Film Quarterly 31.2 (April 2003): 124-129.
UC users only
During the early days of the Chinese cinema, people used to picture the art and physical resemblance. However, this view changed at the turn of twentieth century, when most authors started to express the reality of Chinese life in their works.

Freiberg, Freda.
"Comprehensive connections: the film industry, the theatre and the state in the early Japanese cinema." Screening the Past: An International Electronic Journal of Visual Media and History 2000 (11). 11 January 2000
"Looks at the effect of the dual influences of the theater and the state on the early Japanese film industry, which blossomed in the 1920's and early 1930's as a more modern, progressive expression of Japanese culture with close economic, professional, and stylistic ties to the theater - albeit under the heavy surveillance of a state striving to tone down international influences from European and American films and to use this new medium to instill moral values, patriotism, and a sense of nationalism, particularly as Japanese military activity increased around the world in the 1930's." [Historical Abstracts]

Fu, Poshek. Eileen Chang.
"Woman's Film, and Domestic Shanghai in the 1940s." Asian Cinema 11(1):97-113. 2000 Spring-Summer

Fu, Poshek ; Eileen Chang.
"The Ambiguity of Entertainment: Chinese Cinema in Japanese-Occupied Shanghai, 1941 to 1945." Cinema Journal, Vol. 37, No. 1 (Autumn, 1997), pp. 66-84
UC users only

Hansen, Miriam Bratu .
"Fallen Women, Rising Stars, New Horizons." (cultural influence of Hollywood film in Shanghai, China, in the 1920s and 1930s)(Critical Essay) Film Quarterly Fall 2000 v54 i1 p10
UC users only

Hao, Xiaoming. Chen, Yanru.
"Film and Social Change: The Chinese Cinema in the Reform Area." Journal of Popular Film & Television. 28(1):36-45. 2000 Spring
UC users only

Hong, Junhao.
"The Evolution of China's War Movie in Five Decades: Factors Contributing to Changes, Limits, and Implications." Asian Cinema 10(1):93-106. 1998 Fall

Hok-Sze Leung, Helen
"Unthinking: Chinese Cinema Criticism." Journal of Chinese Cinemas v. 1 no. 1 (2007) p. 71-3
UC users only

Hsiung Deh-Ta
"The Chinese Cinema To-day." The China Quarterly, No. 4 (Oct. - Dec., 1960), pp. 82-87
UC users only

Hu Jun.
"Be on guard against the "big-film" malaise." (Hollywood Films and Chinese Domestic Films in China, Part 2) Chinese Sociology & Anthropology Winter 1999 v32 i2 p38(2)
"China's film industry is threatened by a combination of large-budget films made in the US and the closing of many Chinese cinemas. The industry can recover its former prosperity only when pirated films are more strongly controlled and when all motion picture theaters are managed with a coordinated distribution strategy." [Expanded Academic Index]

"If China can say no, can China make movies? Or, do movies make China? Rethinking national cinema and national agency." (Modern Chinese Literary and Cultural Studies in the Age of Theory: Reimaging a Field) boundary 2 Fall 1998 v25 i3 p129(22)
"National agency is too powerful an element to ignore in Chinese motion pictures. When agency and consciousness are seen as performative, different audiences and critics create different versions of the films' texts. The most recent Chinese films exceed the nation-state's collectivity and modern nationalisms while registering the violence they have perpetrated." [Expanded Academic Index]

Jaffee, Valerie.
"Bringing the World to the Nation: Jia Zhangke and the Legitimation of Chinese Underground Film." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 32: (no pagination). 2004 July-Sept

Ji Hua.
"Another myth about the American dream." (Hollywood Films and Chinese Domestic Films in China, Part 2) Chinese Sociology & Anthropology Winter 1999 v32 i2 p40(3)
"Chinese motion pictures and television shows increasingly make the mistake of showing non-Chinese men falling in love with Chinese women. This trend often leads to imposing Confucian values onto foreigners' behavior or inaccurately characterizing expectations called the "American dream."" [Expanded Academic Index]

Ji Wen.
"Applaud and acclaim Chinese-made cinema." (Hollywood films and Chinese domestic films in China, Part I) Chinese Sociology & Anthropology Fall 1999 v32 i1 p70(7)
"This article examines the Chinese film market and addresses problems that hinder Chinese film popularity. The author maintains that China has, and can again, produce top quality movies that draw crowds. However, a few things need to change in the film market, such as finding appropriate funding, opening up to international markets, and the writing of good screenplays." [Expanded Academic Index]

Jinhua, Dai; Yang, Mayfair.
"Invisible women: Contemporary Chinese cinema and women's film." positions, Spring95, Vol. 3 Issue 1, p255, 26p

Jinyue, Wang.
"Chinese cinema at the turn of the century: apprehension and self-confidence superimposed - survey report on the sixth film festival of university students in Beijing.(Hollywood Films and Chinese Domestic Films in China, Part 2)." Chinese Sociology & Anthropology 32.2 (Winter 1999): 89(7).
Most college students attending a film festival in Beijing, China, feel the motion picture industry is a significant part of modern Chinese culture. They also believe marketing is a crucial element in how successful a film will be, and that the best films reflect reality.

Joyard, Olivier; Tesson, Charles
"De Hong-Kong a la Chine." Cahiers du Cinema special issue 1999. p. 6-9
"In an interview, French filmmaker Olivier Assayas discusses the evolution of cinema in China. Topics discussed include the Kung Fu genre, Taiwanese New Wave cinema, the different approaches taken by Hong Kong filmmakers John Woo and Tsui Hark with regard to Hollywood, and the current appreciation of Asian cinema in the West." [FIAF]

Lee, Vivian
"Virtual bodies, flying objects: the digital imaginary in contemporary martial arts films." Journal of Chinese Cinemas v. 1 no. 1 (2007) p. 9-26
UC users only

Lent, John A. (ed.). Renying, Wang (ed.). Bao, Yuheng (ed.).
"Contemporary Chinese Cinema: A Chronicle of Events: 1978-2000." Asian Cinema 11(2):167-78. 2000 Fall-Winter

Li, H. C.
"Chinese Electric Shadows III: And the Ship Sails On." Modern Chinese Literature. 10(1-2):207-68. 1998 Spring-Fall

Li, H. C.
"More Chinese Electric Shadows: A Supplementary List." Modern Chinese Literature. 8(1-2):237-50. 1994 Spring-Fall

Lim, Song Hwee.
"Celluloid Comrades: Male Homosexuality in Chinese Cinemas of the 1990s." China Information. 16(1):68-88. 2002

Lim, Song Hwee.
"A new beginning: possible directions in Chinese cinemas studies." [Editorial]. Journal of Chinese Cinemas v. 1 no. 1 (2007) p. 3-8 Peer Reviewed
UC users only

Lin, Xiaoping
"New Chinese Cinema of the 'Sixth Generation': A Distant Cry of Forsaken Children." Third Text no. 60 (September 2002) p. 261-84
UC users only
"The fate of Wang Xiaoshuai's Beijing Bicycle is common to all the "Sixth Generation" Chinese filmmakers. The film won a Jury Grand Prix Silver Bear at the 51st Berlin International Film Festival in February 2001 but was prohibited by China's Film Bureau because it portrayed Beijing as "a grey, dirty, and disorderly place." Unlike their "Fifth Generation" predecessors, who primarily worked within the state-run studio system in the late 1980s and early 1990s and achieved great success both at home and abroad, the directors of the "Sixth Generation" have been ostracized from the very start of their careers because of a political and social aversion to their film art. These directors use the modern city and contemporary life as their main themes and have little or no regard for a national past that is either chastized or mystified by their precursors--the "Fifth Generation." [Art Index]

"Listening to Tian Zhuangzhuang's year-end comments on cinema.(Hollywood Films and Chinese Domestic Films in China, Part 2)(Interview)." Chinese Sociology & Anthropology 32.2 (Winter 1999): 96(4).
Chinese filmmaker Tian Zhuangzhuang feels the success of any motion picture depends on how closely it reflects the spirit of the times. Directors should offer facts in film while leaving room for audiences to use their imaginations.

Liu, Liu.
"Sorrow after the Honeymoon: The Controversy over Domesticity in Late Republican China." Modern Chinese Literature & Culture. 13(1):1-34. 2001 Spring

Lu, Sheldon H. (ed. and introd.). Yueh-yu, Yeh (ed. and introd.).
"Chinese Cinema." Post Script: Essays in Film & the Humanities. 20(2-3):3-168. 2001 Winter-Summer

Lu, Sheldon H.
"Thoughts on Teaching Chinese Cinemas in the United States." Asian Cinema 11(1):187-91. 2000 Spring-Summer

Luo Hui.
"Theatricality and Cultural Critique in Chinese Cinema." Asian Theatre Journal, Spring2008, Vol. 25 Issue 1, p122-137, 16p;
UC users only

Ma, Ning
"Signs of angst and hope: history and melodrama in Chinese fifth-generation cinema." Screen (London, England) v. 44 no. 2 (Summer 2003) p. 183-99
"Genealogical analysis of post-1989 fifth-generation Chinese cinema serves as an exemplary instance of the problematics of transnational genre production. This cinema seeks to create a new kind of cross-cultural melodrama noted for its articulation of democratic politics in symbolic response to a variety of totalizing sociohistorical discursive practices shaping the current postmodern world. Central to this kind of melodrama as effective history is a highly melodramatic representation of the body as the inscribed surface of sociohistorical events, and the bearer of an impersonal and brutal force of social totality that enables viewers to understand the functioning of Chinese patriarchal order as a specific configuration of the will to power in world history. In the global cultural politics of the 21st century, this melodramatic aesthetic will have an important role to play." [Art Index]

Marchetti, Gina .
"Chinese and Chinese diaspora cinema--an introduction Plural and transnational." Jump Cut, no. 42, December 1998, pp. 68-72 UC users only

Ming-Bao Yue.
"'There is no place like home': diasporic identifications and Taiwan cinema of the 1960s and 1970s." Postcolonial Studies, Jul2003, Vol. 6 Issue 2, p207, 15p
UC users only

Mitchell, Graham .
"Shadow Magic: a tribute to moving picture pioneers in China." (Study Guide) Australian Screen Education Winter 2002 i29 p132(7) (2972 words)

Ning, Ma.
"New Chinese cinema: A critical account of the fifth generation." Cineaste, 1990, Vol. 17 Issue 3, p32, 4p
UC users only

Ning, Ma.
"Rules of the forbidden game: Violence in contemporary Chinese cinema.: New Cinemas: Journal of Contemporary Film; 2011, Vol. 8 Issue 3, p169-177, 9p
UC users only

Niu Jingmei
"Can money buy audiences' tastes?" (Hollywood Films and Chinese Domestic Films in China, Part 2) Chinese Sociology & Anthropology Winter 1999 v32 i2 p53(4)
" The 1998 Chinese film 'A Time to Remember' was widely promoted but this marketing emphasis should not be seen as typical of China's motion picture industry. A picture's success is based more on its plot than its advertising budget, as most films show." [Expanded Academic Index]

Pang, Laikwan.
"Piracy/Privacy: The Despair of Cinema and Collectivity in China." Boundary 2: An International Journal of Literature and Culture. 31 (3): 101-24. 2004 Fall.

Pang, Laikwan.
"Walking into and out of the spectacle: China's earliest film scene." Screen (London, England) v. 47 no. 1 (Spring 2006) p. 66-80
"A study of China's earliest film culture. Research from film historians shows that the earliest film screenings in Chinese cities were staged in various places, of which the public garden was one of the most popular. With its own cultural peculiarities, this site influenced, and was influenced by, cinema. The cinematic activities were in dialog with other activities in the new garden culture that developed in the 1920s, when public gardens, which had previously been private and reserved to the elite, became sites for the masses. If traditionally gardens were visited for the visual experience sensed through movement, the entertainments incorporated in the new gardens gave visitors the perception of freedom through visual experience, thereby allowing a distorted continuation of that legacy. Emblematic of this new form of mobility is the motion picture, which brought images of imported "modernity" to entertain large numbers of the general public." [Art Index]

Phillips, Brian David.
"Cross-cultural appropriation: 'Seven Wolves' and its American sources (levels of imitation in popular Chinese cinema)." Journal of Popular Culture 27.n4 (Spring 1994): 195(15).
"Chinese filmmakers frequently appropriate ideas, songs and whole scenes from other movies, particularly American films, and incorporate them into a plot that is acceptable to a Chinese audience without undergoing Bloom's anxiety of experience. These filmmakers are pleased when their skillful blending of the borrowed elements into an almost original whole is acknowledged. An analysis of the Taiwan-made Mandarin film 'Seven Wolves' demonstrates this tendency, as it borrows heavily from the American films 'Flashdance,' 'The Goodbye Girl' and 'Streets of Fire.'" [Expanded Academic Index]

Reynaud, Bérénice
"Dancing with Myself, Drifting with My Camera: The Emotional Vagabonds of China's New Documentary." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 28: (no pagination). 2003 Sept-Oct.

Reynaud, Bérénice
"Modern Times." Film Comment v. 39 no. 5 (September/October 2003) p. 54-6, 59-60, 62, 64-5
"As the Chinese film industry becomes more liberal, a new wave of Chinese filmmakers is reaping the benefits of the years of struggle endured by the so-called Sixth Generation. In the 1990s, the filmmakers of the Sixth Generation refused to submit to censorship and studio bureaucracy, opting instead to become cinematic outlaws and, for the first time in the history of socialist China, launching an underground mode of production. Now, a new wave of young filmmakers, working with few resources and often clandestinely, is telling the stories of China's marginalized people: laid-off workers, prostitutes, rock musicians, artists, homosexuals, petty criminals, gangsters, and disaffected youth, among others." [Art Index]

Rayns, Tony
"Chaos and anger." Sight and Sound ns4 Oct 1994. p. 12-15
"The writer examines the current state of filmmaking in China and Taiwan. He comments on the crisis in Chinese filmmaking and on the failed efforts of the Film Bureau to solve the industry's problems. He discusses the tough new legislation that has curbed areas of filmmaking that have seen recent growth. He finds that in spite of the obstacles facing directors, interesting films are still being made. In Taiwan and Hong Kong too, he points out, the film industry is working in difficult circumstances. The market for Chinese film has collapsed in both regions, he notes, with Hollywood imports outgrossing local hits for the first time since the mid 1960s. Nevertheless, he contends, both areas have produced films that look like future classics." [Art Index]

Shen, Vivian.
"From Xin nyxing to Liren xing: Changing Conceptions of the 'New Woman' in Republican Era Chinese Films." Asian Cinema 11(1):114-30. 2000 Spring-Summer

Sklar, Robert.
"Chinese cinema after Tienanmen?" Cineaste, 1990, Vol. 17 Issue 3, p32, 4p
UC users only
Speculates on the effects of the Tiananmen Square massacre in China on Chinese cinema. Indications of a change in Chinese cinema; Deviation from subjects such as Chinese rural life into more youth-oriented films; Exile of Chinese filmmakers who spoke out against the Tianamen Square massacre.

Tang Jiqun.
"The ABC's of Shanghai's film market: a survey report from Yangpu District Cultural Bureau." (part one). (Hollywood Films and Chinese Domestic Films in China, Part 2) Chinese Sociology & Anthropology Winter 1999 v32 i2 p75(7)
"Increased entertainment options have made many Shanghaiese more selective about the motion pictures they choose to watch. Given 9 options, survey respondents placed watching movies as the least likely form of recreation." [Expanded Academic Index]

There is great hope for Chinese cinema." (Hollywood films and Chinese domestic films in China, Part I) Chinese Sociology & Anthropology Fall 1999 v32 i1 p16(7)
"This article discusses the future of Chinese filmmaking. The authors state that with the mediocrity of the 1998 films the industry can only learn, develop, and improve Chinese domestic films, offering movie audiences something to look forward to." [Expanded Academic Index]

Wang Yongzhi, Ren Yi.
"The embarrassments caused by importing major films." (Hollywood films and Chinese domestic films in China, Part I) Chinese Sociology & Anthropology Fall 1999 v32 i1 p8(4)
"This article discusses the impact importing American films into China has had on the Chinese filmmaking industry. The authors maintain that by importing big budget American movies the Chinese audience has lost interest in domestic Chinese films, which cannot compete with the high costs and special effects." [Expanded Academic Index]

Weakland, John H.
"Chinese Film Images of Invasion and Resistance Chinese Film Images of Invasion and Resistance." The China Quarterly, No. 47 (Jul. - Sep., 1971), pp. 439-470
UC users only

Wen, Ji.
"Applaud and acclaim Chinese-made cinema.(Hollywood films and Chinese domestic films in China, Part I)." Chinese Sociology & Anthropology 32.1 (Fall 1999): 70(7).
This article examines the Chinese film market and addresses problems that hinder Chinese film popularity. The author maintains that China has, and can again, produce top quality movies that draw crowds. However, a few things need to change in the film market, such as finding appropriate funding, opening up to international markets, and the writing of good screenplays.

Wenwei Du
"Xi and yingxi: the interaction between traditional theatre and Chinese cinema." Screening the Past: An International Electronic Journal of Visual Media and History 2000 (11). 11 January 2000
"Looks at the effect of the dual influences of the theater and the state on the early Japanese film industry, which blossomed in the 1920's and early 1930's as a more modern, progressive expression of Japanese culture with close economic, professional, and stylistic ties to the theater - albeit under the heavy surveillance of a state striving to tone down international influences from European and American films and to use this new medium to instill moral values, patriotism, and a sense of nationalism, particularly as Japanese military activity increased around the world in the 1930's." [Historical Abstracts]

Wright, Elizabeth
"Shadow Magic - Imperial Peking's Cinematic Initiation." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 17: (no pagination). 2001 Nov-Dec.

Wu Guanping.
"What do the "rankings" tell us?" (Hollywood Films and Chinese Domestic Films in China, Part 2) Chinese Sociology & Anthropology Winter 1999 v32 i2 p57(5)
"The editorial board of China's Cinema Art periodical has determined the most popular motion pictures since 1996. Films in 1998 earning the highest receipts tended to have high-quality production values and carefully-designed marketing strategies." [Expanded Academic Index]

Xiaobing Tang.
"Rural Women and Social Change in New China Cinema: From Li Shuangshuang to Ermo." positions, Winter2003, Vol. 11 Issue 3, p647-674, 28p
UC users only

Xiaoping Lin
"New Chinese Cinema of the 'Sixth Generation': A Distant Cry of Forsaken Children." Third Text; Fall2002, Vol. 16 Issue 3, p261, 24p

Xu, Ying. Xu, Zhongquan.
"A 'New' Phenomenon of Chinese Cinema: Happy-New-Year Comic Movie." Asian Cinema 13(1):112-27. 2002 Spring-Summer

Ya Zi.
"Political films and human rights bias." (Hollywood Films and Chinese Domestic Films in China, Part 2) Chinese Sociology & Anthropology Winter 1999 v32 i2 p51(2)
"Many analysts feel Chinese films are either narrowly categorized as either anti- or pro-government. Rebelliousness has been shown to be the only quality non-Chinese appear to acknowledge in Chinese films." [Expanded Academic Index]

Yau, Esther C.M.
"International fantasy and the "New Chinese Cinema." (Mediating the National)." Quarterly Review of Film and Video 14.n3 (Spring 1993): 95(13).
"Chinese cinema has undergone change in the 1980s in response to international influences and domestic politics. The iron control of communism relaxed, although the old leadership still retains control. The struggle to integrate liberalism into society is exemplified by the 1988 film 'The Troubleshooters' which is a tale of urban riffraff and also a work of political subversion. The cinema will continue to fluctuate under international influences while remaining under strong political control." [Expanded Academic Index]

Yeh, Yueh-yu.
"Historiography and Sinification: Music in Chinese Cinema of the 1930s." Cinema Journal - Volume 41, Issue 3 2002
UC users only
"Sinification, in the sense of rendering Chinese, or indigenizing a foreign medium, has been a dominant discourse in Chinese film historiography. This article analyzes film music in Chinese cinema of the 1930s and argues that sinification should not be taken as a natural or inevitable process but instead should be viewed as a conditional, negotiated practice, subject to intertwined industrial and political mediations." [Project Muse]

Ying, Xu.
"Impact of Globalization on the Cinema in China." Asian Cinema 13(1):39-43. 2002 Spring-Summer

Ying Zhu.
"Chinese cinema's economic reform from the mid-1980s to the mid-1990s." Journal of Communication 52.4 (Dec 2002): 905(17).
The author examines the changes that have occurred with China's motion picture industry between the mid 1980s and the mid 1990s. Two significant features are now influencing the country's movie industry: privatization of movie production companies, and the influence of Hollywood movies.

Ying Zhu.
"Cinematic Modernization and Chinese Cinema's First Art Wave." Quarterly Review of Film & Video, 2001, Vol. 18 Issue 4, p451, 21p
UC users only

Yingjin Zhang
"Comparative film studies, transnational film studies: interdisciplinarity, crossmediality, and transcultural visuality in Chinese cinema." Journal of Chinese Cinemas Volume: 1 | Issue: 1, December 2006 Page(s): 27-40

Yingjin Zhang
"From "Minority Film" to "Minority Discourse": Questions of Nationhood and Ethnicity in Chinese Cinema." Cinema Journal, Vol. 36, No. 3 (Spring, 1997), pp. 73-90
UC users only

Yingjin Zhang.
"Industry and ideology: a centennial review of Chinese cinema." World Literature Today 77.3-4 (Oct-Dec 2003): 8(6).
UC users only
"By 1966, ultraleftist ideology took over, and more than fifty films were officially censured. A record of zero feature productions from 1967 to 1969 was a direct result of the negation of the first seventeen years of socialist cinema during the Cultural Revolution. Mao's wife, Jiang Qing, who had enjoyed publicity as a Shanghai film actress in the mid-1930s, sponsored the filming of eight revolutionary model plays." [ProQuest]

Yingjin Zhang
"Thinking outside the box: mediation of imaging and information in contemporary Chinese independent documentary." Screen (London, England) v. 48 no. 2 (Summer 2007) p. 179-92
UC users only
"The writer discusses the mediation of imaging and information in contemporary Chinese independent documentary in a transnational, cross-media context. Particular reference is made to Ying Weiwei's Hezi/The Box (2001), a documentary about the private life of a lesbian couple. It is suggested that although documentary film's dual status as a medium of artistic expression and a means of recording reality has enabled Chinese independent documentarians to stake claims to truth, the medium's inherent tension between image and reality still remains worrisome for most Chinese documentarians and critics." [Art Index]

Xiaoming, Hao; Yanru, Chen.
"The Chinese Cinema in the Reform Era. Journal of Popular Film & Television, Spring2000, Vol. 28 Issue 1, p36, 10p
UC users only

Zhang, Yingjin.
"Comparative film studies, transnational film studies: interdisciplinarity, crossmediality, and transcultural visuality in Chinese cinema." Journal of Chinese Cinemas v. 1 no. 1 (2007) p. 27-40
UC users only

Xiaoming, Chen; Kang, Liu; Shi, Anbin
"The Mysterious Other: Postpolitics in Chinese Film." boundary 2, Vol. 24, No. 3, Postmodernism and China (Autumn, 1997), pp. 123-141
UC users only

Zhang, Yingjin.
"From "Minority Film" to "Minority Discourse": Questions of Nationhood and Ethnicity in Chinese Cinema." Cinema Journal, Spring97, Vol. 36 Issue 3, p73, 18p
UC users only

Zhang, Yingjin.
"Industry and Ideology: A Centennial Review of Chinese Cinema." World Literature Today; Oct-Dec2003, Vol. 77 Issue 3/4, p8-13, 6p
UC users only

Zhang, Zhen
"Amorous History of the Silver Screen: The Actress as Vernacular Embodiment in Early Chinese Film Culture." Camera Obscura - Volume 16, Issue 3 2001
UC users only

Zhongqiang, Jin.
"Kentucky Fried Chicken, McDonald's, and Chinese cinema.(Hollywood Films and Chinese Domestic Films in China, Part 2)." Chinese Sociology & Anthropology 32.2 (Winter 1999): 35(3).
Motion picture theaters supported by foreign capital are increasingly common in China despite their often operating at a loss. If these cinemas expand in the manner of such US companies as McDonald's and Kentucky Fried Chicken, the Chinese film industry could face serious competition in the near future.

Zhong, Xueping.
"'Long Live Youth' and the Ironies of Youth and Gender in Chinese Films of the 1950s and 1960s." Modern Chinese Literature & Culture. 11(2):150-85. 1999 Fall

Zhu, Ying.
"Cinematic Modernization and Chinese Cinema's First Art Wave." Quarterly Review of Film & Video. 18(4):451-71. 2001 Oct
"China began to produce art films in the late 1970s, influenced by cinematic modernization and new cultural forces. This style culminated in the mid 1980s with New Wave cinema that avoided earlier pedagogy and state subsidy, fully engaging financial independence and modernist film discourse." [Expanded Academic Index]

Hong Kong Cinema

Abbas, Ackbar.
"Hong Kong." In: The cinema of small nations / edited by Mette Hjort and Duncan Petrie. Bloomington : Indiana University Press, c2007.
Main Stack PN1994.C39 2007

Abbas, Ackbar.
"The New Hong Kong Cinema and the Deja disparu." Discourse: Journal for Theoretical Studies in Media & Culture. 16(3):65-77. 1994

Abbas, Ackbar.
"The New Hong Kong Cinema and the Deja disparu." In: Hong Kong : culture and the politics of disappearance Minneapolis : University of Minnesota Press, 1997.
ANTH: DS796.H75 A34 1997
MAIN: DS796.H75 A34 1997

Acquarello.
"Mass-Produced Alienation: Disposable Lives in Made in Hong Kong." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 24: (no pagination). 2003 Jan-Feb.

Adelman, Jacob.
To the Kowloon Station : portrayals of mainland Chinese in contemporary Hong Kong film Manuscript: 2005.
MAIN: 308t 2005 4; MAIN: AS36.C3 A135 2005 4

Anderson, Aaron
"Violent dances in martial arts films." Jump Cut, no. 44, Fall 2001

Arons, Wendy
"If her stunning beauty doesn't bring you to your knees, her deadly drop kick will": violent women in the Hong Kong kung fu film." In: Reel knockouts: violent women in the movies / edited by Martha McCaughey and Neal King. 1st ed.p. 27-51 Austin: University of Texas Press, 2001.
Main Stack PN1995.9.W6.R454 2001

At full speed: Hong Kong cinema in a borderless world
Esther C.M. Yau, editor. Minneapolis: University of Minnesota Press, c2001.
Full text available online (UCB users only)
UCB East Asia PN1993.5.C4 A184 2001
UCB Main PN1993.5.C4 A184 2001
Contents: Introduction: Hong Kong cinema in a borderless world / Esther C.M. Yau -- An overview of Hong Kong's new wave cinema / Law Kar -- The emergence of the Hong Kong new wave / Hector Rodriguez -- Aesthetics in action: kungfu, gunplay, and cinematic expressivity / David Bordwell -- The killer: cult film and transcultural (mis)reading / Jinsoo An -- Life imitates entertainment: home and dislocation in the films of Jackie Chan / Steve Fore -- Tsui Hark: national style and polemic / Stephen Teo -- Hong Kong hysteria: martial arts tales from a mutating world / Bhaskar Sarkar -- Women on the edges of Hong Kong modernity: the films of Ann Hui / Elaine Yee-lin Ho -- A souvenir of love / Rey Chow -- Film and enigmatization: nostalgia, nonsense, and remembering / Linda Chiu-han Lai -- Transnational exchanges, questions of culture, and global cinema: defining the dynamics of changing relationships / Gina Marchetti -- Transnationalization of the local in Hong Kong cinema of the 1990s / Kwai-cheung Lo -- The intimate spaces of Wong Kar-wai / Marc Siegel.

Aufderheide, Patricia
"Made in Hong Kong: Translation and Transmutation." In: Play it again, Sam : retakes on remakes / edited by Andrew Horton and Stuart Y. McDougal ; with an afterword by Leo Braudy. Berkeley : University of California Press, c1998.
Main (Gardner) Stacks PN1995.9.R45 P58 1998
Moffitt PN1995.9.R45 P58 1998

Berry, Chris
"Cinema: From Foreign Import to Global Brand." In: The Cambridge companion to modern Chinese culture / edited by Kam Louie. Cambridge, UK ; New York : Cambridge University Press, 2008.
MAIN: DS775.2 .C452424 2008

Berry, Michael.
Speaking in images : interviews with contemporary Chinese filmmakers New York : Columbia University Press, c2005.
MAIN: PN1993.5.C4 B49 2005
PFA : PN1993.5.C4 B49 2005

Between home and world: a reader in Hong Kong cinema
Edited by Esther M.K. Cheung and Chu Yiu-wai = Yue jie guang ying : Xianggang dian ying du ben / Zhang Meijun, Zhu Yaowei bian. Hong Kong: Oxford University Press, 2004.
East Asiatic Library: PN1993.5.H6 B48 2004

Bordwell, David.
Planet Hong Kong: popular cinema and the art of entertainment / David Bordwell. Cambridge, Mass.: Harvard University Press, 2000.
UCB CenChiStu PN1993.5.H6 B63 2000
UCB Main PN1993.5.H6 B63 2000

Bren, Frank
"Connections and crossovers: cinema and theater in Hong Kong." New Theatre Quarterly Feb 1998 v14 n53 p63(12)
"Author's Abstract: COPYRIGHT 1998 Cambridge University Press From the run-up to its return to Chinese role in July 1997 to the stock-market crash in October, Hong Kong has seldom been out of the news during the past year. But the attention paid to its political and economic provenance has not been matched by much interest in its cultural output - despite the existence in Hong Kong of a cinema industry with a prodigious output now approaching ten thousand films. Although a professional theatre has been a relatively more recent development, the connections between film and theatre in Hong Kong have always been close - from the film adaptations of Cantonese opera in the 1930s, through the 'female' films of the post-war period and the western following for Bruce Lee's kung fu movies, to the present dominance of the cross-generic production company, Springtime, in the 1990s, with a creative interest in its own past which verges on the metatheatrical. Frank Bren, who is presently living and working in Hong Kong, here captures something of the history and the distinctive flavour of the overlapping movie and theatre industries, and assesses why the relationship remains mutually profitable in artistic as well as economic terms." [Expanded Academic Index]

Boyle, Deirdre,
"Hong Kong Media Journal." Wide Angle - Volume 20, Issue 2 1998
UC users only

Bren, Frank
"Connections and Crossovers: Cinema and Theatre in Hong Kong." New Theatre Quarterly. 14(1 (53)):63-74. 1998 Feb
"From the run-up to its return to Chinese role in July 1997 to the stock-market crash in October, Hong Kong has seldom been out of the news during the past year. But the attention paid to its political and economic provenance has not been matched by much interest in its cultural output - despite the existence in Hong Kong of a cinema industry with a prodigious output now approaching ten thousand films. Although a professional theatre has been a relatively more recent development, the connections between film and theatre in Hong Kong have always been close - from the film adaptations of Cantonese opera in the 1930s, through the 'female' films of the post-war period and the western following for Bruce Lee's kung fu movies, to the present dominance of the cross-generic production company, Springtime, in the 1990s, with a creative interest in its own past which verges on the metatheatrical. Frank Bren, who is presently living and working in Hong Kong, here captures something of the history and the distinctive flavour of the overlapping movie and theatre industries, and assesses why the relationship remains mutually profitable in artistic as well as economic terms." [Expanded Academic Index]

Bren, Frank
"Hong Kong's Fifty Years of Electric Shadows." Cineaste 231 [July 1997] 41
"Discusses a three-day international conference following the retrospective program of the Hong Kong International Film Festival. States that the conference, featuring 45 key film works from 1947-1994, entitled, "Fifty Years of Electric Shadows," allows the opportunity to reassess both the past and likely futures of Hong Kong cinema in light of the political handover to China." [International index to the Performing Arts]

Chan, S.C-K.
"Figures Of Hope And The Filmic Imaginary Of Jianghu In Contemporary Hong Kong Cinema." Cultural Studies 15.3 (July 1, 2001): 486(29).
UC users only
"Through an extensive allegorical reading of films, this paper attempts to capture a certain cultural form of imagination in Hong Kong during the transitional period leading up to the historical handover of power in 1997. Dwelling on the world of signification conjured up through what I call the jianghu filmic imaginary,the analysis focuses on the ideological and utopian impulses registered in relation to a whole emotional complex of anxiety, bewilderment and despair in the works of some highly creative local filmmakers of the genre: Ching Siu-Tong, Ann Hui, Tsui Hark and Wong KarWai. The study draws theoretically from Castoriadis's notion of the social imaginary and Bloch's aesthetics of hope, to focus on the textual and contextual re-constructions of a number of very unconventional martial arts swordplay (wuxia) films made in Hong Kong in the last two decades: namely, Tsui's Butterfly Murders (1979), Hui's Romance of Book and Sword (1987), Ching/Tsui's Swordsman II (1992), and Wong's Ashes of Time (1994). By identifying the ideological and affective moments in the filmic imaginary,I want to trace what has been left in a ruined culture for utopian longings, and point to the presence/absence of 'hope' as the cultural imagination for an unknown and unknowable future (beyond 1997). It is my contention that an understanding of that peculiar form of popular imaginary at the unusual juncture of Hong Kong's history can begin with a critical attempt to cope with this subtle practice of hope, so as to recognize (or reject) it as mediation in the process of our collective cultural crisis, anticipation and identification." [Expanded Academic Index]

Chan, Evans.
"Postmodernism and Hong Kong Cinema." Postmodern Culture: an Electronic Journal of Interdisciplinary Criticism. 10(3):43 paragraphs. 2000 May.

Chan, Evans.
"Postmodernism and Hong Kong Cinema." In: Postmodernism & China / edited by Arif Dirlik and Xudong Zhang. pp: 294-322. Durham [N.C.]: Duke University Press, 2000.
Chinese Stdy DS779.23.P675 2000
Main Stack DS779.23.P675 2000

Chan, Stephen Ching-kiu.
"Figures of hope and the filmic imaginary of jianghu in contemporary Hong Kong cinema." (Becoming (Postcolonial) Hong Kong)(Critical Essay) Cultural Studies v15, n3-4 (July-Oct, 2001):486 (29 pages).
UC users only
"The concept of jianghu, or external reality, is often portrayed with hope in Hong Kong wuxia, or martial arts films. This theme has become more prominent since the handover of Hong Kong to Chinese rule, partly because many economic, political, and social issues remain unresolved." [Expanded Academic Index]

Chan, Sui-hung Natalia
"Cinematic Neorealism: Hong Kong Cinema and Fruit Chan's 1997 Trilogy." In: Italian neorealism and global cinema / edited by Laura E. Ruberto & Kristi M. Wilson. Detroit : Wayne State University Press, c2007.
Main Stack PN1993.5.I88.I76 2007

Charles, John
The Hong Kong filmography, 1977-1997: a complete reference to 1,100 films produced by British Hong Kong studios / by John Charles; foreword by Tim Lucas. Jefferson, N.C.: McFarland, c2000.
UCB East Asia PN1993.5.C4 C425 2000
UCB Main PN1993.5.C4 C425 2000
UCB Media Ctr PN1993.5.C4 C425 2000

Chen, Yaocheng.
"Postmodernism and Hong Kong Cinema." Postmodern Culture, Volume 10, Number 3, May 2000
UC users only

Cheuk-to, Li.
"Journal: Hong Kong." Film Comment. 40 (5): 10-12. 2004 Sept-Oct.

Chi, Robert
"Hong Kong Connections: Transnational Imagination in Action Cinema." The Journal of Asian Studies, Volume 66, Issue 01, Feb 2007, pp 227-228
UC users only
Table of contents http://www.loc.gov/catdir/toc/ecip065/2005037133.html

Chinese connections : critical perspectives on film, identity and diaspora
Edited by Tan See-Kam, Peter X. Feng, and Gina Marchetti. Philadelphia : Temple University Press, 2009.
Main (Gardner) Stacks PN1993.5.C4 C45 2009
Contents: False consciousness and double consciousness: race, virtual reality, and the assimilation of Hong Kong action cinema in The matrix / Peter X. Feng -- The par-Asian cinematic imaginary in Olivier Assayas's Irma Vep / Grace An -- The HK venture: the Francophone cine-logocentric nexus / Aaron Han Joon Magnan-Park -- Wong Fei-Hung in da house: Hong Kong martial-arts films and hip-hop culture / Frances Gateward -- Same difference: racial masculinity in Hong Kong and cop-buddy "hybrids" / Gayle Wald -- American popular music and neocolonialism in the films of Edward Yang / Emilie Yueh-yu Yeh -- Hollywood and Taiwan: connections, countercurrents, and Ang Lee's Hulk / Gina Marchetti -- Becoming Hollywood? Hong Kong cinema in the new century / Chuck Kleinhans -- "From behind the wall": the representation of gender and sexuality in modern Chinese film / Zhou Xuelin -- Beyond the western gaze: Orientalism, feminism, and the suffering woman in nontransnational Chinese cinema / Andrew Grossman -- Disappearing faces: bisexuality and transvestism in two Hong Kong comedies / Helen Hok-Sze Leung -- Staging gay life in China: Zhang Yuan and East palace, west palace / Chris Berry -- Whose fatal ways: mapping the boundary and consuming the other in border crossing films / Li-Mei Chang -- Asian martial-arts cinema, dance, and the cultural languages of gender / Aaron D. Anderson -- Singapore as a society of strangers: Eric Khoo's Mee pok man, 12 storeys, and Be with me / Tan See-Kam -- Chinese cinema revisits the city: Beijing trilogy and global urbanism of the 1990s / Jenny Kwok-Wah Lau -- Taiwan fever? Tsai Ming-Liang and the everyday postnation / Peter Hitchcock -- The spirits of capital and haunting sounds: translocal historicism in victim (1999) / Esther C.M. Yau -- Zhang Yimou's hero: the temptations of fascism / Evans Chan.

Chow, Lesley
"Beauties and Furies: Hong Kong's New Wave of Women Stars." Bright Lights Film Journal, vol. 55, pp. (no pagination), Feb 2007

Chu, Yingchi.
Hong Kong cinema: coloniser, motherland and self. London: RoutledgeCurzon, 2003.
UCB MAIN: PN1993.5.H6 C58 2003

Chute, David; others
"Made in Hong Kong." Film Comment; Vol.XXIV nr.3 (May-June 1988); p.33-56
Articles and interviews on Hong Kong cinema in the present and the past, surveys films and profiles actors and directors.

Ciecko, Anne T.
"Hong Kong : cinematic cycles of grief and glory." In: Contemporary Asian cinema : popular culture in a global frame / edited by Anne Tereska Ciecko. Oxford ; New York : Berg, 2006.
Main Stack PN1993.5.A75.C655 2006
Moffitt PN1993.5.A75.C655 2006
Table of contents http://www.loc.gov/catdir/toc/ecip065/2005037133.html

Ciecko, Anne T. Lu, Sheldon H.
"The Heroic Trio: Anita Mui, Maggie Cheung, Michelle Yeoh-Self-Reflexivity and the Globalization of the Hong Kong Action Heroine." Post Script: Essays in Film & the Humanities. 19(1):70-86. 1999 Fall
UC users only

The Cinema of Hong Kong: history, arts, identity
Edited by Poshek Fu, David Desser. Cambridge, UK; New York, NY: Cambridge University Press, 2000.
UCB Main PN1993.5.H6 C56 2000

Collier, Joelle.
"A Repetition Compulsion: Discontinuity Editing, Classical Chinese Aesthetics, and Hong Kong's Culture of Disappearance." Asian Cinema 10(2):67-79. 1999 Spring-Summer

Curtin, Michael.
"Industry on Fire: The Cultural Economy of Hong Kong Media." Post Script: Essays in Film & the Humanities. 19(1):28-51. 1999 Fall
UC users only

Dancer, Greg.
"Film Style and Performance: Comedy and Kung Fu from Hong Kong." Asian Cinema 10(1):42-50. 1998 Fall

Darras, Matthieu: Dossier
"Hong Kong fin de siècle: À la recherche d'un nouveau souffle: Instantanés sur le cinéma de Hong Kong." (Dossier: Hong Kong at the End of the Century Looking for New Breath: Film Snapshots of Hong Kong) Positif 455 [January 1999] 74-77

Davis, Darrell W.; Yueh-yu, Yeh.
"WARNING CATEGORY III: The Other Hong Kong Cinema." Film Quarterly v54, n4 (Summer, 2001):12.
"Despite its built-in age restriction and its very small coverage by critics, Category III occupies a predominant place in the Hong Kong film market. The Hong Kong classification system was implemented during the colonial period, following the 1984 Joint Declaration returning Hong Kong to China. Category III makes up a large proportion of the titles available on the market. The films thus labeled are a microcosm of Hong Kong cinema as a whole and reveal the struggle between transgression and control occurring throughout Hong Kong media. They are shocking for reasons that might be expected, but surprising as well due to their levels of energy, imagination, and outrageousness. To understand the industry as a whole, it is necessary to take them into account." [Art Index]

Desser, David.
"Diaspora and National Identity: Exporting 'China' through the Hong Kong Cinema." Post Script: Essays in Film & the Humanities. 20(2-3):124-36. 2001 Winter-Summer
UC users only

Edelstein, David
"Eastern haunts." (Augmented title: Hong Kong ghost movies) Film Comment v 24 May/June 1988. p. 48+

Fang, Karen.
"Arresting Cinema: Surveillance and the City-State in the Representation of Hong Kong." New Formations: a Journal of Culture/Theory/Politics. 44:128-50. 2001 Autumn

Feng, Peter X.
"False and Double Consciousness: Race, Virtual Reality and the Assimilation of Hong Kong Action Cinema in The Matrix." In: Aliens R us: the other in science fiction cinema / edited by Ziauddin Sardar and Sean Cubitt. pp: 149-63. London ; Sterling, Va.: Pluto Press, 2002.
Main Stack PN1995.9.S26.A45 2002

Fonoroff, Paul.
"A Brief History of Hong Kong Cinema." Renditions: a Chinese-English Translation Magazine. 29-30:293-308. 1988 Spring-Autumn.
Follows the history of Hong Kong cinema and its relationship to the industries of Taiwan and the mainland.

Fore, Steve (ed. and introd.).
"Hong Kong Cinema." PostScript: Essays in Film & the Humanities. 19(1). 1999 Fall.

Fore, Steve
"Golden Harvest Films and the Hong Kong movie industry in the realm of globalisation." Velvet Light Trap; nr.34 (Fall 1994); p.40-58
Considers the overseas successes of Raymond Chow's Hong Kong based company Golden Harvest Films in the light of Hong Kong's political and economic situation since the 1970's, and considers the implications of Hong Kong becoming part of China in 1977.

Fore, Steve
"Introduction: Hong Kong Movies, Critical Time Warps, and Shapes of Things to Come." Post Script 19:1 (Fall 1999) p. 1-9 p. 1-9
UC users only

Fu, Poshek
"Between nationalism and colonialism: mainland emigres, marginal culture, Hong Kong cinema, 1937-1941." In: Constructing nationhood in modern East Asia / edited by Kai-wing Chow, Kevin M. Doak, Poshek Fu. Ann Arbor : University of Michigan Press, c2001.
Main Stack DS518.C66 2001

Fu, Poshek
Between Shanghai and Hong Kong: the politics of Chinese cinemas Stanford, Calif.: Stanford University Press, c2003.
MAIN: PN1993.5.C4 F8 2003

Funnell, Lisa.
"Assimilating Hong Kong Style for the Hollywood Action Woman." Quarterly Review of Film & Video, Jan2011, Vol. 28 Issue 1, p66-79, 14p
UC users only

Giukin, Lenuta
"Boy-girls: gender, body, and popular culture in Hong Kong action movies." In: Ladies and gentlemen, boys and girls: gender in film at the end of the twentieth century / edited by Murray Pomerance.p. 55-69. Albany: State University of New York Press, c2001. SUNY series, cultural studies in cinema/video.
Main Stack PN1995.9.S47.L33 2001

Grossman, Andrew.
"Homosexual Men (and Lesbian Men) in a Heterosexual Genre: Three Gangster Films from Hong Kong." Journal of Homosexuality. 39(3-4):237-71. 2000
Author's Abstract: COPYRIGHT 2000 Haworth Press, Inc. "Of the East Asian film genres that have captured the attention of film goers internationally, it should be of little surprise that martial and heroically masculine genres have been the most popular, for violent action translates well into any language. Although it has been no secret that male martiality often leaks into homoerotic desire (on the part of the audience, too), three Hong Kong films from 1998 have finally explicated the genetic homosexuality that the action genre has been (defensively) ashamed to admit all along. However, rather than posit this textual homosexuality as transgressive, the generic forces under which these films operate rewrite their homosexualities, both gay and lesbian, into generic modes fashioned around regressive oppositions of gender, and not progressive liberations of sexuality." [Article copies available for a fee from The Haworth Document Delivery Service: 1-800-342-9678. E-mail address: Website: ]

Grossman, Andrew.
"The Rise of Homosexuality and the Dawn of Communism in Hong Kong Film: 1993-1998." Journal of Homosexuality. 39(3-4):149-86. 2000

Grossman, Andrew.
"The Rise of Homosexuality and the Dawn of Communism in Hong Kong Film: 1993-1998." Journal of Homosexuality, June 2000 p149
Author's Abstract: COPYRIGHT 2000 Haworth Press, Inc. "I have designed this essay as a general overview of the self-evident trend towards queer subject matter in the past decade in Hong Kong film, a trend that not only coincides historically with the 1997 handover to the Mainland but also frequently comes equipped with parent-child relationships that can be read as allegories for the colony's future as the "child" to its mother country. Queerness in HK films has both alternated between and combined indigenous forms of queerness and the imported Western variety; by charting courses through internationalized concepts of homosexuality, HK films have posited their queerness not only as an existential allegory of (post)colonialism but also as a claim (or hope) for a utopian sexuality cum utopian international politics." [Article copies available for a fee from The Haworth Document Delivery Service: 1-800-342-9678. E-mail address: Website: ]

Hammond, Stefan.
Hollywood East: Hong Kong movies and the people who made them / Stefan Hammond; foreword by Michelle Yeoh. Lincolnwood (Chicago), Ill.: Contemporary Books, c2000.
UCB Main PN1993.5.H6 H25 2000

Hammond, Stefan.
Sex and Zen & a bullet in the head / Stefan Hammond & Mike Wilkins. New York: Simon & Schuster, 1996.
UCB Main PN1993.5.H6 H26 1996

Hastie, Amelie.
"Fashion, Femininity, and Historical Design: Visual Texture of Three Hong Kong Films." Post Script: Essays in Film & the Humanities. 19(1):52-69. 1999 Fall
UC users only

Hendrix, Grady.
"Hong Kong Horror: The 90s and Beyond." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 29: (no pagination). 2003 Nov-Dec.

Heroic grace: the Chinese martial arts film.
United States: UCLA Film and Television Archive, 2003.
PFA: PN1993.5.H6 H47 2003
Center for Chinese Studies Library: PN1993.5.H6 H47 2003

Hok-sze Leung, Helen.
"Queerscapes in Contemporary Hong Kong Cinema." positions, Fall2002, Vol. 9 Issue 2, p423, 25p;
UC users only

"Hong Kong Cinema." Bright Lights; nr.13 (Summer 1994); p.1-50
Articles on Hong Kong cinema, with separate bibliography.

Hong Kong connections : transnational imagination in action cinema
Edited by Meaghan Morris, Siu Leung Li, and Stephen Chan Ching-kiu. Durham : Duke University Press ; Hong Kong : Hong Kong University Press, 2005.
MAIN: PN1995.9.A3 H66 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0517/2005023603.html

Hong Kong film, Hollywood and the new global cinema : no film is an island
Edited by Gina Marchetti and Tan See Kam. London ; New York : Routledge, 2007.
MAIN: PN1993.5.C4 H66 2007
Table of contents http://www.loc.gov/catdir/toc/ecip0615/2006020398.html

"Hong Kong Films." Bright Lights; nr.13 (Summer 1994); p.1-50
Articles on Hong Kong cinema from various issues of Bright Lights

Hong Kong International Film Festival (5th: 1981)
A study of the Hong Kong swordplay film (1945-1980): the fifth Hong Kong International Film Festival, April 9-24, 1981, City Hall Lecture Hall / presented by the Urban Council. Hong Kong: The Council, 1981.
NRLF C 3 014 040

Hong Kong film, Hollywood and the new global cinema : no film is an island
Edited by Gina Marchetti and Tan See Kam. London ; New York : Routledge, 2007.
MAIN: PN1993.5.C4 H66 2007;
Table of contents http://www.loc.gov/catdir/toc/ecip0615/2006020398.html

"Hong-Kong, les metamorphoses d'une ville." (14 article special section) Cahiers du Cinema special issue 1999. p. 10-35
A special section on filmmaking in Hong Kong. Articles discuss the crisis in the film industry, films that are currently popular, filmmakers and actors who are working in Hollywood, the problems caused by pirated Video CD versions of films, and the work of producer Nansun Shi, cinematographer Christopher Doyle, actresses Maggie Cheung and Michelle Reis, and filmmakers Yu Lik-wai, Stanley Kwan, Wong Kar-wai, Tsui Hark, and Fruit Chan.

Hoover, Michael; Stokes, Lisa.
"A City on Fire: Hong Kong Cinema as Cultural Logic of Late Capitalism." Asian Cinema. 10(1):25-41. 1998 Fall.

Hunt, Leon
"The Hong Kong/Hollywood connection : stardom and spectacle in transnational action cinema." In: Action and adventure cinema / edited by Yvonne Tasker. London ; New York : Routledge, 2004.
Grad Svcs PN1995.9.A3.A28 2004 Non-circulating; may be used only in Graduate Services
Main Stack PN1995.9.A3.A28 2004

Jarvie, I. C. (Ian Charles)
Window on Hong Kong : a sociological study of the Hong Kong film industry and its audience [Hong Kong] : Centre of Asian Studies, University of Hong Kong, 1977.
AASL: PS173.H5 J27; Housed at Ethnic Studies Library.

Ka-Fai Yau
"Cinema 3: towards a 'minor Hong Kong cinema'." (Becoming (Postcolonial) Hong Kong)(Critical Essay). Cultural Studies July-Oct 2001 v15 i3-4 p543(21)
" 'Minor Hong Kong cinema' is comprised of motion pictures that conceptualize and develop specific examples responding to geo-historical situations, such as the 1997 handover of Hong Kong to the Chinese. Films by Fruit Chan are concerned with the underrepresented, vanished, and failed aspects of Hong Kong." [Expanded Academic Index]

Kam, Tan See
"Ban(g)! ban(g)! dangerous encounter -- 1st kind: writing with censorship." Asian Cinema; Vol.VIII nr.1 (Spring 1996); p.83-108
Examines the banning of the violence-themed "Diyi lei xing weixian" as a way of understanding the workings of censorship practices in relation to a history of resistance-cinema in Hong Kong.

Klein, Christina.
"Martial arts and the globalization of US and Asian film industries." Comparative American Studies, Sep2004, Vol. 2 Issue 3, p360-384, 25p

Kwai-Cheung Lo.
"Double negations: Hong Kong cultural identity in Hollywood's transnational representations." (Becoming (Postcolonial) Hong Kong)(Critical Essay) Cultural Studies July-Oct 2001 v15 i3-4 p464(22)
UC users only
" Hong Kong film actors such as Jackie Chan have been reconstructed to suit the emerging transnational identity of the former colony. The motion picture 'Rush Hour' demonstrates how Chinese identity and the symbolic realm of films are simultaneously negated.?" [Expanded Academic Index]

Kwok Wah Lau, Jenny
"Towards a cultural understanding of cinema: a comparison of contemporary films from the People's Republic of China and Hong Kong." Wide Angle; Vol.XI nr.3 (July 1989); p.42-49
Focuses on three films each from China ("Tianyunshan chuanqi", "[At middle age]", "[In-laws]") and Hong Kong ("[Modern security guard]", "[Aces go places III]", "[Paragon]") as a comparison of the respective cultures and societies.

Kwok Wah Lau, Jenny
"Besides fists and blood: Hong Kong comedy and its master of the eighties." Cinema Journal; Vol.XXXVII nr.2 (Winter 1998); p.18-34
UC users only
"Long associated with the Kung Fu genre, Hong Kong films of recent years have received increased, though often confused, attention from western critics eager to attribute the 'message' of all releases to the Chinese take-over of the colony; the article takes a look at the locally popular comedy films, focusing on "Bo-biu", and explains why critics have tended to overlook this genre." [FIAF]

Lai, Linda.
"Hong Kong Cinema In The 1930s: Docility, Social Hygiene, Pleasure-Seeking And The Consolidation Of The Film Industry." Screening the Past: An International Electronic Journal of Visual Media and History 2000 (11). 11 January 2000
"Discusses the prewar consolidation of the Hong Kong film industry during the 1930's, when film production increased markedly in numerous genres (particularly the musical) after a general strike that crippled the industry for years during a time of marked changes in public discourse. Examines the reasons behind the emergence of the film industry as its own public sphere as it reflected the political, historical, cultural, and social changes occurring as the Chinese living in Hong Kong were redefining their identity and loyalties to the British colonial government and their own culture." [Modern History Abstracts]

Landler, Mark
"Back to Hong Kong, where the action is; disillusioned with Hollywood, nostalgic for an anything-goes culture, directors head home." (Hong Kong directors like Stanley Tong, Peter Chan, and Tsui Hark are returning to Hong Kong to make their films) The New York Times August 13, 2000 pAR11(N) pAR11(L) col 1 (25 col in)

Latham, Kevin.
"Consuming fantasies: mediated stardom in Hong Kong Cantonese opera and cinema." Modern China v26, n3 (July, 2000):309 (3 pages).
"Research is presented describing the role played by cinema and opera in Hong Kong since its return to China in 1997 and the cultural and economic aspects of commercialism in the territory." [Expanded Academic Index]

Lau, Jenny Kwok Wah
"Besides Fists and Blood: Hong Kong Comedy and Its Master of the Eighties." Cinema Journal 372 [Winter 1998] 18-34
UC users only
"Provides an analysis of Michael Hiu's film "Modern Security Guards" revealing the importance of comedy to Hong Kong cinema during the 1980s and demonstrates how Hong Kong films should be read from within their own sophisticated cultural and political context. Examines the image of Hong Kong cinema in the United States. Briefly traces the history of comedy and it's central role in Hong Kong cinema. Features Michael Hui, master of Cantonese comedy and discusses previous works by the writer/actor/director. Discusses the relationship between China and Hong Kong and it's historical representation in films." [International Index to the Performing Arts]

Law, Kar
Hong Kong cinema : a cross-cultural view Lanham, Md. : Scarecrow Press, 2004.
MAIN: PN1993.5.C4 K37 2004
Table of contents http://www.loc.gov/catdir/toc/ecip0411/2003024604.html

Leary, Charles.
"Infernal Affairs: High Concept in Hong Kong." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 26: (no pagination). 2003 May-June.

Leary, Charles
"Electric shadow of an airplane : Hong Kong cinema, world cinema." In: East Asian cinemas : exploring transnational connections on film / edited by Leon Hunt and Leung Wing-Fai. London : New York : I.B. Tauris, 2008.
Main Stack PN1993.5.E19.E27 2008

Lee, Gregory B.
"Wicked Cities: The Other in Hong Kong Science Fiction." In: Aliens R us: the other in science fiction cinema / edited by Ziauddin Sardar and Sean Cubitt. pp: 111-33. London ; Sterling, Va.: Pluto Press, 2002.
Main Stack PN1995.9.S26.A45 2002

Lee, Gregory B., Lam, Sunny S. K.
"Wicked cities: cyberculture and the reimagining of identity in the 'non-Western' metropolis." (Special Issue: Fictions and Futures) Futures Dec 1998 v30 i10 p967(1)
"Hong Kong consumers of popular culture have recently been obsessed with cyberpunk culture. One film exploiting the techniques and passions of cyberculture is 'Wicked City' or 'Yaoshou dushi' (1992) directed by Peter Mak (Mak Tai Kit) and produced by Tsui Hark. It is discussed here as exceptional in its redeployment of the cultural imaginaries of Hollywood movies, Japanese comics, and Hong Kong's own ideology. Issues of colonialism, the alienatory power of the nation-state, hybridity, androgyny, time and history and, for Hong Kong, the rare critique of the capitalism, are all addressed in this film and in our discussion of the text and its context. [Expanded Academic Index]

Lee, Susie J.
"Theorizing Intervention: The Presence of Hong Kong Cinema in Asian America." Asian Cinema. 15 (1): 248-64. 2004 Spring-Summer.

Lee, Vivian P. Y.
Hong Kong cinema since 1997 : the post-nostalgic imagination / Vivian P. Y. Lee. Basingstoke, Hampshire, UK ; New York : Palgrave Macmillan, 2009.
Main (Gardner) Stacks PN1993.5.H6 L44 2009

Leung, Helen Hok-sze,
"Queerscapes in Contemporary Hong Kong Cinema." positions: east asia cultures critique - Volume 9, Issue 2 2001
UC users only

Leung, Helen Hok-Sze
Undercurrents : queer culture and postcolonial Hong Kong Vancouver : UBC Press, c2008.
MAIN: NX180.H6 L48 2008

Leung, N. K.
"Hong Kong Cinema: China and 1997." In: The Oxford guide to film studies / edited by John Hill and Pamela Church Gibson; consultant editors, Richard Dyer, E. Ann, et al. pp: 554-56. Oxford; New York: Oxford University Press, 1998.
Main Stack PN1995.O93 1998

Leung, Wing-Fai
"All changing on the eastern front. Infernal affairs and Kung fu hustle : panacea, placebo and Hong Kong cinema." In: East Asian cinemas : exploring transnational connections on film / edited by Leon Hunt and Leung Wing-Fai. London : New York : I.B. Tauris, 2008.
Main Stack PN1993.5.E19.E27 2008

Li, H. C.
"Hong Kong Electric Shadows II: Recent English Publications on Hong Kong Cinema." Post Script: Essays in Film & the Humanities. 20(2-3):159-68. 2001 Winter-Summer

Lo, Kwai-cheung.
"A Borderline Case: Ethnic Politics and Gangster Films in Post-1997 Hong Kong." Postcolonial Studies, vol. 10, no. 4, pp. 431-446, Dec 2007

Lo, Kwai-cheung.
Chinese Face/Off : The Transnational Popular Culture of Hong Kong Urbana ; Chicago : University of Illinois Press, c2005.
ANTH: DS796.H75 L557 2005

Lo, Kwai-cheung.
"Muscles and Subjectivity: A Short History of the Masculine Body in Hong Kong Popular Culture." Camera Obscura. 39:104-25. 1996 Sept

Lo, Kwai-cheung.
""Double Negations: Hong Kong Cultural Identity In Hollywood's Transnational Representations." Cultural Studies 15.3 (July 1, 2001): 464(22).
UC users only
"This article attempts to develop a critical understanding of the reconstitution of Hong Kong identity in Hollywood productions involving Hong Kong film talents. It argues that the'local' in the city's historical context of the nineties no longer refers to any entity pertaining to a particular locality and culture but is always already determined by the framework of the transnational, which structures the perception of its local social reality. In particular, the paper suggests that the remaking of Hong Kong cultural identity in Hollywood films could be grasped in terms of the notion of a double negation. While the formation of such an identity is based on a negation of Chineseness, Hong Kong'stransnational crossing to Hollywood initiates another negation that negates the very symbolic realm common to Chineseness. Jackie Chan's Hollywood blockbuster, Rush Hour , is used to illuminate the ways in which Hong Kong film stars and directors working for the global entertainment syndicate re-appropriate their agency in the production of a transnational narrative of their identity." [Expanded Academic Index]

Logan, Bey.
Hong Kong action cinema / Bey Logan. Woodstock, N.Y.: Overlook Press, 1996.
UCB Main PN1993.5.H6 L65 1996

Lu, Sheldon H.
"Hong Kong Diaspora Film and Transnational TV Drama: From Homecoming to Exile to Flexible Citizenship." Post Script: Essays in Film & the Humanities. 20(2-3):137-46. 2001 Winter-Summer

Martin, Daniel.
"Another week, another Johnnie To film: the marketing and distribution of postcolonial Hong Kong action cinema." Film International, 2009, Vol. 7 Issue 4, p30-39, 10p
UC users only

Masculinities and Hong Kong cinema
Edited by Laikwan Pang & Day Wong. Hong Kong : Hong Kong University Press, 2005.
Main Stack PN1993.5.C4.M37 2005
Introduction: Laikwan Pang --David Desser --Laikwan Pang --Travis S. K. Kong --Helen Hok-sze Leung --Sheng-mei Ma --Shen Shiao-Ying --Kwai-cheung Lo --James A. Steintrager --Yeeshan Chan --Wai Kit Choi --Agnes S. Ku --Day Wong.Diversity of masculinities in Hong Kong cinema /Making movies male : Zhang Che and the Shaw brothers martial arts movies, 1965-1975 /Post-1977 Hong Kong masculinity /Queering masculinity in Hong Kong movies /Unsung heroes : reading transgender subjectivities in Hong Kong action cinema /Kung Fu films in diaspora : death of the bamboo hero /Obtuse music and the nebulous male : the haunting presence of Taiwan in Hong Kong films of the 1990s /Fighting female masculinity : women warriors and their foreignness in Hong Kong action cinema of the 1980s /Unworthy subject : slaughter, cannibalism and postcoloniality /Bringing breasts into the mainstream /Post-Fordist production and the re-appropriation of Hong Kong masculinity in Hollywood /Masculinities in self-invention : critics' discourses on Kung Fu-action movies and comedies /Women's reception of mainstream Hong Kong cinema /

Matarasso, David
"Dossier: Hong Kong fin de siècle: Udine 1998." (Dossier: Hong Kong at the End of the Century: Udine 1998) Positif 455 [January 1999] 78-81

Meaghan, Morris.
"Transnational imagination in action cinema: Hong Kong and the making of a global popular culture." Inter-Asia Cultural Studies 5.2 (August 2004): 181(19).
UC users only
"Taking action cinema as an example, this paper outlines a historical approach to the transnational study of globally popular cultural forms. Action cinema has long had a complex economy in which Hollywood not only trades stars, styles and narratives with the hybrid culture of Hong Kong cinema itself, but draws on a vast 'direct to tape' industry significantly based in East Asia. The paper outlines a Hong Kong-based approach to two earlier phases in the history of action: the 'international co-production' as an industrially innovative form (1973-85), and the golden age of the 'direct to tape' industry enabled by the rapid spread of video technology (1985-93). Focusing on the latter, it suggests that the global uptake by filmmakers of a 'contact' narrative and an ethic of emulation taken from Hong Kong cinema allowed direct-to-video action to address issues of social class in emotionally complex ways." [Expanded Academic Index]

Moller, Olaf.
"Hong Kong's Modern Films." Film Comment. 40 (5): 20-22. 2004 Sept-Oct.

Morris, Gary
"Recent Hong Kong Films: "I refuse to fever in the lousy ballroom of Mongkok!" Bright Lights

Morris, Meaghan.
"Transnational imagination in action cinema: Hong Kong and the making of a global popular culture." Inter-Asia Cultural Studies, Aug2004, Vol. 5 Issue 2, p181-199, 19p
UC users only

Needham, Gary
"Fashioning modernity : Hollywood and the Hong Kong musical 1957-64." In: East Asian cinemas : exploring transnational connections on film / edited by Leon Hunt and Leung Wing-Fai. London : New York : I.B. Tauris, 2008.
Main Stack PN1993.5.E19.E27 2008

Ning, Ma
"Rules of the forbidden game: Violence in contemporary Chinese cinema." New Cinemas: Journal of Contemporary Film; 2011, Vol. 8 Issue 3, p169-177, 9p
UC users only

Nochimson, Martha.
"Gangster Identity, Hong Kong: A Taoist Code Warrior." In: Dying to belong : gangster movies in Hollywood and Hong Kong Malden, MA : Blackwell Pub., 2007.
Main Stack PN1995.9.G3.N63 2007
Portions of this chapter via Google books

Pak-Tong, Cheuk.
"The Beginning of the Hong Kong New Wave: The Interactive Relationship between Television and the Film Industry." Post Script: Essays in Film & the Humanities. 19(1):10-27. 1999 Fall
UC users only

Palmer, Augusta Lee. Lau, Jenny Kwok Wah.
"Of Executioners and Courtesans: The Performance of Gender in Hong Kong Cinema of the 1990s." In: Multiple modernities : cinemas and popular media in transcultural East Asia / edited by Jenny Kwok Wah Lau. pp: 203-21. Philadelphia, PA : Temple University Press, c2003.
Main Stack PN1993.5.E19.M75 2003

Pang, Laikwan.
"Death and Hong Kong Cinema." Quarterly Review of Film & Video. 18(1):15-29. 2001.
UC users only
"Hong Kong peaceably changed its status in 1997 from a British Crown Colony to a Chinese administrative district, and this has significantly affected motion pictures made there. Death has been portrayed in Hong Kong's films to reflect its people's subjectivity and how Hong Kong cinema needs to discover a new purpose." [Expanded Academic Index]

Pang, Laikwan.
"Masculinity in Crisis: Films of Milkyway Image and Post-1997 Hong Kong Cinema." Feminist Media Studies. 2(3):325-40. 2002 Nov
UC users only

Pang, Laikwan.
"Postcolonial Hong Kong Cinema: Utilitarianism and (Trans)Local." Postcolonial Studies, vol. 10, no. 4, pp. 413-430, Dec 2007
UC users only

Pettman, Dominic.
"The floating life of fallen angels: unsettled communities and Hong Kong cinema." Postcolonial Studies, Apr2000, Vol. 3 Issue 1, p69-80, 12p
UC users only

Poshek Fu.
"Japanese Occupation, Shanghai Exiles, and Postwar Hong Kong Cinema." China Quarterly, Jun2008 Issue 194, p380-394, 15p

Reynaud, Berenice
"China's shadow falls across Hong Kong's films; past and future connections with China are having an impact on a normally ebullient movie industry." The New York Times May 13, 1990 v139 s2 pH17(N) pH17(L) col 1 (38 col in)

Reynaud, Berenice
"High noon in Hong Kong."(prospects of film industry after 1997) Film Comment v 33 July/Aug 1997. p. 20-3
"The possible impact of China's takeover of Hong Kong on the former colony's film industry is discussed. As the takeover date looms, the question of national cinema is coming to the fore. For a long time, Hong Kong cinema has created dreams, perhaps because it was cut off from China; now it must deal with reality. Despite the threat of censorship, the majority of the territory's filmmakers want to stay in Hong Kong. The Hong Kong film industry has an obstinate pride and firmly held confidence in its own resilience, and the Chinese takeover presents an opportunity for creative artists to rediscover the country of their ancestors." [Art Index]

Reynaud, Berenice
"Let's Love Hong Kong." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 22:(no pagination). 2002 Sept-Oct

Rist, Peter.
"Neglected 'Classical' Periods: Hong Kong and Korean Cinemas of the 1960s." Asian Cinema 12(1):49-66. 2001 Spring-Summer

Rodriguez, Héctor
"Hong Kong popular culture as an interpretive arena: the Huang Feihong film series." Screen; Vol.XXXVIII nr.1 (Spring 1997); p.1-24
"The writer discusses the Huang Feihong film series of Hong Kong, concentrating mainly on the films of the 1950s. Huang Feihong (1847-1924) was a famous street performer, physician, and martial arts instructor; fictional accounts of his martial skill and unyielding moral probity have been frequently serialized in newspapers and popular films. The writer discusses a number of themes to be found in the series, including a capitalist emphasis on producing profitable films that would delight audiences with amazing dances and fights, formulaic stories, and recognizable stars; a search for cultural identity through the collection and display of Cantonese regional traditions; a nationalist display of love for China's Confucian culture; a realist celebration of popular culture and ordinary life; a conservative adherence to the values of law and order; and a progressive concern with the enfranchisement of peasants, women, and the urban poor." [Art Index]

Rodríguez, Héctor
"Organizational Hegemony in the Hong Kong Cinema." Post Script - Essays in Film and the Humanities 191 [Fall 1999] 107-119
UC users only
"Provides an essay that develops a broad institutional analysis of the silent organizational mechanisms that linked Chinese political parties with the Hong Kong film industry from 1949 to approximately 1970. Mentions cinema historians have often noted the close linkage between the Hong Kong film industry and China's national politics throughout the 1950s and 1960s. States although partisan cinema workers often endeavored to promote thematic contents congenial to their own ideological standpoints, the principal aims of political activities in Hong Kong were fundamentally organizational in nature, geared not only to the dissemination of propaganda messages but also towards the consolidation of an enduring institutional presence in the colony. Describes the pursuit of this agenda as a work of "organizational hegemony." Includes notes." [IIPA]

See, Kam Tan
"Chinese diasporic imaginations in Hong Kong films: sinicist belligerence and melancholia." Screen; Vol.XLII nr.1 (Spring 2001); p.1-20
A study of the extent to which the culture and ideology of China impacted on Hong Kong cinema from the late 1930's to the late 1960's.

See, Kam Tan
"The Cross-Gender Performances of Yam Kim-Fei, or The Queer Factor in Postwar Hong Kong Cantonese Opera/Opera Films." (Critical Essay) See-Kam Tan. Journal of Homosexuality June 2000 p201
Author's Abstract: COPYRIGHT 2000 Haworth Press, Inc. "This essay is designed as a brief historical examination of the Cantonese female cross-dressing star Yam Kim-Fei, whose hundreds of films and opera performances in the '50s and '60s have made her one of the century's most celebrated transvestite artists. While her craft has often been relegated to studies of gender alone, I assert that the traditions of Chinese operatic transvestism she employs are not merely a relativist historical-artistic mode without political relevance but can be justifiably reclaimed for the purposes of queer interpretation and spectatorship--for indeed their original intent coincides very well with what we call "queer" today." [Article copies available for a fee from The Haworth Document Delivery Service: 1-800-342-9678. E-mail address: Website: ]

Stokes, Lisa Odham.
City on fire: Hong Kong cinema / Lisa Odham Stokes and Michael Hoover. London; New York: Verso, 1999.
UCB Main PN1993.5.H6 S76 1999

Stokes, Lisa Odham.
Historical dictionary of Hong Kong cinema Lanham, Md. : Scarecrow Press, 2007.
MAIN: PN1993.5.C4 S885 2007;
Table of contents http://www.loc.gov/catdir/toc/ecip0615/2006019322.html

A study of the Hong Kong swordplay film (1945-1980) : the fifth Hong Kong International Film Festival, April 9-24, 1981, City Hall Lecture Hall
Hong Kong : The Council, 1981.
MAIN: PN1995.9.S86 H62 1981; Storage Info: C 3 014 040

Tan, See Kam.
"The Cross-Gender Performances of Yam Kim-Fei; or, the Queer Factor in Postwar Hong Kong Cantonese Opera/Opera Films." Journal of Homosexuality. 39(3-4):201-11. 2000

Tan, See Kam.
"Chinese Diasporic Imaginations in Hong Kong Films: Sinicist Belligerence and Melancholia." Screen. 42(1):1-20. 2001 Spring
Teo, Stephen.
"The aesthetics of mythical violence in Hong Kong action films." New Cinemas: Journal of Contemporary Film, 2011, Vol. 8 Issue 3, p155-167, 13p
UCB users only

Teo, Stephen.
Chinese martial arts cinema : the Wuxia tradition / Stephen Teo. Edinburgh : Edinburgh University Press, c2009.
Main (Gardner) Stacks PN1995.9.H3 T46 2009

Teo, Stephen.
Hong Kong cinema: the extra dimensions / Stephen Teo. London: BFI, 1997.
UCB Main PN1993.5.H6 T46 1997

Teo, Stephen.
"Hong Kong Cinema: Discovery and Pre-Discovery." In: The Oxford guide to film studies / edited by John Hill and Pamela Church Gibson; consultant editors, Richard Dyer, E. Ann, et al. pp: 550-53. Oxford; New York: Oxford University Press, 1998.
Main Stack PN1995.O93 1998

Teo, Stephen.
"Hong Kong journal." Film Comment v 36 no6 Nov/Dec 2000. p. 11-13
"There are indications that the Hong Kong film industry could be emerging from turmoil. Since the region was returned to China in 1997, the film industry has been adversely affected by the Asian financial crisis. In 1998, production levels reached rock bottom. The government has played a part in a recent recovery by restricting video piracy and promoting Hong Kong films by backing international festivals of the territory's cinema. The government has also established a Film Development Fund and a film office to give financial and logistical help to filmmakers. Meanwhile, there is a growing tendency for coproductions between Hong Kong and Japan, South Korea, Taiwan, China, Singapore, and Thailand. This implies an emerging feeling of "Pan-Asianism" bringing together the different markets." [Art Index]

Teo, Stephen.
"The aesthetics of mythical violence in Hong Kong action films." New Cinemas: Journal of Contemporary Film, 2011, Vol. 8 Issue 3, p155-167, 13p
UCB users only

Teo, Stephen.
"Local and Global Identity: Whither Hong Kong Cinema?" Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 7:(no pagination). 2000 June. 3

Teo, Stephen.
"The 'missing' female knight- errant in Hong Kong action cinema 1965-1971: back in critical action." Journal of Chinese Cinemas, 2010, Vol. 4 Issue 2, p143-154, 12p
UCB users only

Wai-ming Ng, Benjamin.
"Japanese Elements in Hong Kong Erotic Films." Asian Cinema. 15 (1): 217-24. 2004 Spring-Summer.

Wang, Yiman.
"The Phantom Strikes Back: Triangulating Hollywood, Shangahi and Hong Kong." Quarterly Review of Film and Video. 21 (4): 317-26. 2004 Oct-Dec.

Williams, Anthony
"Hong Kong social horror: tragedy and farce in Category 3." Post Script 21.3 (Summer 2002): 61(12).
UC users only

Williams, Anthony
"Hong Kong social horror: tragedy and farce in Category 3." In: Horror international / edited by Steven Jay Schneider and Tony Williams. Detroit : Wayne State University Press, c2005.
Main Stack PN1995.9.H6.H73 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0421/2004017352.html

Willis, Andy.
"Hong Kong cinema since 1997: troughs and peaks." Film International, 2009, Vol. 7 Issue 4, p6-17, 12p
UC users only

Wong, Cindy Hing-yuk.
"Cities, Cultures and Cassettes: Hong Kong Cinema and Transnational Audiences." Post Script: Essays in Film & the Humanities. 19(1):87-106.
UC users only

Xu, Gary G.
Sinascape : contemporary Chinese cinema Lanham : Rowman & Littlefield Publishers, c2007.
MAIN: PN1993.5.C4 X8 2007;
Table of contents http://www.loc.gov/catdir/toc/ecip0616/2006021950.html

Yang, Jeff.
Once upon a time in China: a guide to Hong Kong, Taiwanese, and mainland Chinese cinema New York: Atria Books, 2003.
MAIN: PN1993.5.C4 Y37 2003

Yau, Esther.
"Border Crossing: Mainland China's Presence in Hong Kong Cinema." In: New Chinese cinemas: forms, identities, politics Edited by Nick Browne ... [et al.]. pp: 180-201. Cambridge [England]; New York: Cambridge University Press, 1994.
UCB CenChiStu PN1993.5.C4 N49 1994
UCB Main PN1993.5.C4 N49 1994
UCB Moffitt PN1993.5.C4 N49 1994

Yau, K-F. "Cinema 3: Towards a 'Minor Hong Kong Cinema'." Cultural Studies 15.3 (July 1, 2001): 543(21).
UC users only
"This article canvasses the way Hong Kong cinema became modern, at the moment and the place when/where it had to come up with new cinematic images in response to new geo-historical situations. I call it a'minor Hong Kong cinema' in the sense that it is a cinema that deterritorializes within the heart of what is considered major. This minor cinema is not at all just a cinema at the margin. It is rather a strategy to conceptualize and develop certain suggestive examples in order to respond to specific geo-historical situations. While this minor cinema cannot represent the whole of Hong Kong cinema, it also highlights the potentialities of Hong Kong cinema that cannot be covered by dominant discourses on Hong Kong. This article focuses upon the films of Fruit Chan. In Fruit Chan's 'Hong Kong 1997 Trilogy', 1997 is neither the beginning of recollections nor the end of Hong Kong. These films dwell upon the failed, the vanished, and the underrepresented to make Hong Kong appear at the intriguing moment of 1997. They explore new perspectives for re-channelling Hong Kong and its histories." [Expanded Academic Index]

Yau, Ka-Fai,
"3rdness: Filming, Changing, Thinking Kong Kong." positions: east asia cultures critique - Volume 9, Issue 3 2001
UC users only

Yau, Ka-Fai.
"Cinema 3: towards a 'minor Hong Kong cinema'." (Becoming (Postcolonial) Hong Kong)(Critical Essay) Cultural Studies v15, n3-4 (July-Oct, 2001):543 (21 pages).
"'Minor Hong Kong cinema' is comprised of motion pictures that conceptualize and develop specific examples responding to geo-historical situations, such as the 1997 handover of Hong Kong to the Chinese. Films by Fruit Chan are concerned with the underrepresented, vanished, and failed aspects of Hong Kong." [Magazine Index]

Yiu-wai, Chu.
"(In)Authentic Hong Kong: The '(G)Local' Cultural Identity in Postcolonial Hong Kong Cinema." Post Script: Essays in Film & the Humanities. 20(2-3):147-58. 2001 Winter-Summer
UC users only

Zhang, Yingjin.
Cinema, space, and polylocality in a globalizing China / Yingjin Zhang. Honolulu : University of Hawaii Press, 2010.
Main (Gardner) Stacks PN1993.5.C4 Z5 2010

Zhen, Zhang.
"Bodies in the Air: The Magic of Science and the Fate of the Early 'Martial Arts' Film in China." Post Script: Essays in Film & the Humanities. 20(2-3):43-60. 2001 Winter-Summer
UC users only

Zhen, Zhang.
"The 'Shanghai Factor' in Hong Kong Cinema: A Tale of Two Cities in Historical Perspective." Asian Cinema. 10(1):146-59. 1998

Zhuo, Botang.
Hong Kong new wave cinema : 1978-2000 Bristol, UK ; Chicago, USA : Intellect, 2008.
MAIN: PN1993.5.C4 Z58 2008

Books and Articles About Individual Filmmakers and Films

Hou Hsiao-hsien

Berry, Michael
"Words and Images: A Conversation with Hou Hsiao-hsien and Chu T'ien-wen." Positions: East Asia Cultures Critique, vol. 11, no. 3, pp. 675-716, Winter 2003

Burnett, Colin
"Parametric Narration and Optical Transition Devices: Hou Hsiao-hsien and Robert Bresson in Comparison." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 33, pp. (no pagination), Fall 2004

Cheshire, Geoffrey.
"Time Span: The Cinema of Hou Hsiao-hsien." Film Comment 29, 6 (1993): 56-63.

Chiao, Peggy
"Great changes in a vast ocean: neither tragedy nor joy." (interview with Taiwanese filmmaker Hou Hsiao-Hsien)(Interview) Performing Arts Journal May-Sept 1995 n50-51 p43(12)
UC users only

Cinémas d'Asie.
Cahiers du Cinéma; nr.512 (Apr 1997); p.22-53
Dedicated to recent works from Hong Kong and Japan, incl. those by Hou Hsiao-Hsien, Tsui Hark, Takeshi Kitano and Ryosuke Hashiguchi.

Ciment, Michel; Tobin, Yann
"Entretien avec Hou Hsiao-hsien." Positif: Revue Mensuelle de Cinema, vol. 537, pp. 16-19, November 2005

Dai Jinhua; Zhang Jingyuan.
"Hou Hsiao-Hsien's films: pursuing and escaping history." Inter-Asia Cultural Studies; Jun2008, Vol. 9 Issue 2, p239-250, 12p
UC users only

Daly, Fergus.
"On Four Prosaic Formulas Which Might Summarzie Hou's Poetics." Senses of Cinema 12 (2001).
UC users only

Ellickson, Lee.
"Preparing to Live in the Present: An Interview with Hou Hsiao-hsien." Cineaste. 27(4):13-19. 2002 Fall
UC users only

Hampton, Howard
"Slow Train Coming: Who's Afraid of Hou Hsiao-hsien?" Film Comment v. 42 no. 4 (July/August 2006) p. 32-6
UC users only
"Hou Hsiao-hsien has struggled to find an audience. Although he has been persistently making films as rich in traditional human interest as in formalist peripheral vision, the renowned Taiwanese director remains a casualty of the gap between high-altitude critical regard and moviegoers' finicky interest. Cinephiles appreciate his beatific composure, depth of historical focus, and immense subtlety, but Hsiao-hsien has seen his work undermined by poor-to-nonexistent U.S. distribution, limited mainstream media coverage, and weak word-of-mouth. The danger is not that Hsiao-hsien will remain obscure but that more and more of cinema will be seen in the same light." [Art Index]

"Hou, Hsiao-hsien." (Taiwanese film director)
Current Biography July 1999 v60 i7 p32(4)

"Hou Hsiao-hsien" (4 article special section on the Taiwanese filmmaker)
Cahiers du Cinéma no512 Apr 1997. p. 24-33 A special section on Taiwanese filmmaker Hou Hsiao-hsien. The section features a review of his film Goodbye South, Goodbye 1995, a portrait of Hou by Olivier Assayas who traveled to Taiwan to make a documentary film on Hou, Assayas' diary of the filming of the documentary, and an analysis of Hou's films.

Jones, Kent
"Cinema with a roof over its head. (works of filmmaker Hou Hsiao-hsien) Film Comment Sept 1999 v35 i5 p46
UC users only

Lopate, Phillip.
"A master everywhere else is ready to try America." (Hou Hsiao-hsien) The New York Times Oct 10, 1999 pAR13(N) pAR13(L) col 4 (35 col in)

Michael, Berry.
"Words and Images: A Conversation with Hou Hsiano-hsien and Chu T'ien-wen." Positions, Winter2003, Vol. 11 Issue 3, p675-716, 42p

Rayns, Tony.
"Hou Hsaio-Hsien: Songs for swinging lovers." Sight & Sound v. ns16 no. 8 (August 2006) p. 14-19
"A profile of Taiwanese director Hou Hsiao-Hsien. Although Hou's work is still little known in the United Kingdom, his delightful new film Three Times should change all that. In many ways, Three Times is a kind of summation of Hou's work to date. Like the other movies of his maturity, the new one pares away the inessential to leave kernels of information that are key to the understanding of characters and their circumstances. Hou's style is also distinguished, in Three Times, and elsewhere, by the director's unassertively observational approach and refusal to tell the viewer what to think. Perhaps the success of Three Times will encourage viewers to explore Hou's peerless back catalog on DVD." [Art Index]

Rayns, Tony.
"The Sandwich Man: Between Taiwan and the Mainland, Between the Real and the Surreal: Tony Rayns Talks to Hou Xiaoxian." Monthly Film Bulletin 55 (June 1988): 163-164.

Sklar, Robert
"Hidden history, modern hedonism: The films of Hou Hsiao-hsien." (Critical Essay) Cineaste Fall 2002 v27 i4 p11(2)
UC users only

Stanbrook, Alan
"The worlds of Hou Hsiao-Hsien." Sight and Sound Spring 1990 v59 n2 p120(5)

Tay, William.
"The Ideology of Initiation: The Films of Hou Hsiao-Hsien." In: New Chinese cinemas: forms, identities, politics / edited by Nick Browne ... [et al.]. pp: 151-59. Cambridge [England]; New York: Cambridge University Press, 1994.
UCB CenChiStu PN1993.5.C4 N49 1994
UCB Main PN1993.5.C4 N49 1994
UCB Moffitt PN1993.5.C4 N49 1994

Udden, James.
"Hou Hsiao-hsien and the Question of a Chinese Style." Asian Cinema 13(2):54-75. 2002 Fall-Winter Udden, James. Hou Hsiao-hsien and the Question of a Chinese Style Asc. 13(2):54-75. 2002 Fall-Winter

Udden, James
No man an island : the cinema of Hou Hsiao-hsien / James Udden. Hong Kong : Hong Kong University Press, c2009.
Main (Gardner) Stacks PN1998.3.H687 U33 2009
Pacific Film Archive

Udden, James
"Taiwanese Popular Cinema and the Strange Apprenticeship of Hou Hsiao-hsien." Modern Chinese Literature and Culture, vol. 15, no. 1, pp. 120-45, Spring 2003

Wen Tien-Hsiang; Hui, Gan Sheuo.
"Hou Hsiao-Hsien: a standard for evaluating Taiwan's cinema." Inter-Asia Cultural Studies, Jun2008, Vol. 9 Issue 2, p211-238, 28p
UC users only

Wood, Robin .
"Flowers of Shanghai." (analysis of Hou Hsiao-Hsien's film)(Critical Essay) CineAction Summer 2001 p11
UC users only

Yeh, Yueh-yu.
"Politics and Poetics of Hou Hsiao-hsien's Films." Post Script: Essays in Film & the Humanities. 20(2-3):61-76. 2001 Winter-Summer
UC users only

Cafe Lumière

Burdeau, Emmanuel; Coumoul, Sylvain
"J'ai le sentiment de mieux comprendre Ozu" Cahiers du Cinema no. 596 (December 2004) p. 32
"Filmmaker Hou Hsiao-Hsien comments on his new film, Cafe Lumiere. He discusses various topics, including the origin of the film in a commission to make a tribute to the Japanese filmmaker Yosujiro Ozu, the basis of the film in a story about a Japanese woman who is pregnant by a Taiwanese man, the research he did for the film on the theme of mother-daughter relationships, and how he now feels he understands Ozu better." [Art Index]

Coumoul, Sylvain
"Dans l'espace inoui de l'amour." Cahiers du Cinema no. 596 (December 2004) p. 30-2
"A review of Cafe Lumiere, a film by Hou Hsiao-Hsien. Set in Japan, the film is a tribute to the filmmaker Yasujiro Ozu, marking the centenary of his birth. It centers on Yoko, who is pregnant but has not made up her mind to get married and whose father cannot bring himself to speak to her. Very quickly, however, the film moves beyond the motif of a development of family mores to address a much more radical generational U-turn: The parents remain unchanged, but the young people have become new entities, outwardly inscrutable, thoughtful, cultured, and liberated from family ties." [Art Index]

Fujiwara, Chris
"First Look: Hou Hsiao-hsien's Café Lumière." Film Comment, vol. 40, no. 2, pp. 15, March 2004

Fujiwara, Chris
"A Tribute to the Past Set in the Here and Now."
UC users only

Johnston, Ian
"Hou Hsiao-hsien Pays Sweet Homage to Ozu in Café Lumière." Bright Lights Film Journal, vol. 48, pp. (no pagination), May 2005

Good Men, Good Women

Ma, Jean Y
"Doubled Lives, Dissimilated History: Hou hitHsiao-hithsien's "Good Men, Good Women". Post Script - Essays in Film and the Humanities 22:3 (Summer 2003)
UC users only

Puppetmaster

Chiao, Hsiung-ping.
"History's Subtle Shadows: Hou Hsiao-hsien's The Puppet Master." Cinemaya 21 (1993): 4-11.

Klinger, Gabe.
"Decoding Hou: Analyzing Structural Coincidences in The Puppetmaster." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 8:(no pagination). 2000 July-Aug.

Ng, Yvonne
"Essence and Ellipsis in Hou Hsiao-hsien's The Puppetmaster." Kinema Spring, 1999

Tam, Kwok-kan and Wimal Dissanayake.
"Hou Hsiao-hsien: Critical Encounters with Memory and History." In: New Chinese cinema / Kwok-kan Tam & Wimal Dissanayake. Hong Kong; New York: Oxford University Press, 1998. Images of Asia.
Chinese Stdy PN1993.5.C4.T34 1998
Main Stack PN1993.5.C4.T34 1998

Yip, June.
"Constructing a Nation: Taiwanese History and the Films of Hou Hsiao-hsien." In: Transnational Chinese cinemas: identity, nationhood, gender / edited by Sheldon Hsiao-peng Lu. Honolulu, HI: University of Hawaii Press, 1997.
Chinese Stdy PN1993.5.C4.T65 1997
Main Stack PN1993.5.C4.T65 1997
Asian Amer PN1993.5.C4.T65 1997

A Time to Live and a Time to Die (Tung nien Wang Shih)

Chow, Rey.
"We endure, therefore we are: survival, governance, and Zhang Yimou's 'To Live.'" (analysis of Chinese filmmaker's 1994 film)(Ethical Politics) South Atlantic Quarterly v95, n4 (Fall, 1996):1039 (26 pages).
"Zhang Yimou's 1994 film 'To Live' celebrates, on the surface, one Chinese family's ability to endure hardship in order to survive. At a deeper level, however, the film subtly criticizes China's totalitarian society and Communist government. It shows, by means of allegory and seemingly incidental episodes, details and characters, that China's preoccupation with its own survival has prolonged its cyclical experiences of hardship. Zhang sees China's celebration of endurance not as a virtue but as his country's most destructive ideology, the one that prevents it from grappling with its real problems." [Expanded Academic Index]

Deppman, Hsiu-Chuang
"Hou Xiaoxian and Zhu Tianwen Politics and Poetics in A Time to Live, A Time to Die." In: Adapted for the screen: the cultural politics of modern Chinese fiction and film / Hsiu-Chuang Deppman. Honolulu, T.H. : University of Hawai'i Press, c2010.
Full-text available online (UC Berkeley users only)

Maslin, Janet
" A time to live and a time to die." (movie reviews) The New York Times Sept 23, 1986 v136 p26(N) pC14(L) col 1 (7 col in)

Neri, Corrado "A time to live, a time to die : a time to grow." In: Chinese films in focus II / edited by Chris Berry. Basingstoke, Hampshire [England] ; New York : Palgrave Macmillan ; London : [Published] on behalf of British Film Institute, 2008.
Main (Gardner) Stacks PN1993.5.C4 C463 2008

Rayns, Tony.
"Tongnian Wangshi (The Time to Live and the Time to Die)." Monthly Film Bulletin 55 (June 1988): 161-163.

Shi, Shu-mei.
"Globalisation and Minoritisation: Ang Lee and the Politics of Flexibility." New Formations: a Journal of Culture/Theory/Politics. 40:87-101. 2000 Spring

I-Fen Wu
"Looking for nostalgia: memory and national identity in Hou Hsiao-Hsien's a time to live, a time to die." CineAction Wntr 2003 p45(7)

Ang Lee

Ang Lee
Gastherausgeber: Matthias Bauer. Munchen : Edition Text + Kritik, 2007.
MAIN: PN1998.3.L53 A54 2007

Dilley, Whitney Crothers.
The cinema of Ang Lee : the other side of the screen London ; New York : Wallflower Press, 2007.
MAIN: PN1998.3.L439 D55 2007

Dilley, Whitney Crothers.
"Globalization and Cultural Identity in the Films of Ang Lee." Style, Spring2009, Vol. 43 Issue 1, p45-64, 20p
UC users only

Goodridge, Mike.
"Ang Lee." In: Directing Boston : Focal Press, 2002
Main Stack PN1998.A2.G66 2002

Independent View. Ang Lee & Laszlo Kovacs[Video]
A segment from a TV series offering a behind-the-scenes look into the creative process of independent filmmaking. Director Ang Lee talks with B. Ruby Rich about the making of his recent critical success, Crouching Tiger, Hidden Dragon. Lee's career is studiously diverse, with a filmography that includes The Wedding banquet, Eat drink man woman, The Ice storm and Ride with the devil. In Part 2 acclaimed Hungarian cinematographer Laszlo Kovacs, talks about his legendary career and some of his trade secrets with film critic and journalist, Michael Fox. 26 min. Video/C MM99

Two films by Ang Lee.
Woodstock, N.Y. : Overlook Press, 1994.
Asian Amer PN1997.A1.T86 1994

Wang Lihong
"Ang Lee's Language of Film - a Bridge Between the East and West." China Today; Jun2006, Vol. 55 Issue 6, p56-59, 4p, 6c
"The article features a New York based movie film maker of Taiwan that had hit Hollywood in its own artistic way of film making. "Brokeback Mountain" film director Ang Lee had received an award at the 78th Academy Awards and was named as the most successful director ever to have emerged from China in terms of the number of awards he has collected. Some of his successfully movies includes Crouching Tiger, Hidden dragon, The Ice Storm and the latest Brokeback Mountain."

Brokeback Mountain

Crouching Tiger, Hidden Dragon

Acocella, Joan
"Crouching Tiger, Hidden Dragon." (movie review) . The New Yorker March 26, 2001 v77 i5 p100(2)

Ansen, David
"Swords, Sense and Sensibility: Lee delivers a rich mix of melodrama and martial arts." (Arts and Entertainment)(Brief Article)(Review)_(movie review) Newsweek Dec 4, 2000 p62

Atchley, J. Heath
"When the Master Is Not Master: The Critique of Enlightenment in Ang Lee's Crouching Tiger, Hidden Dragon." Journal of Religion and Film, vol. 7, no. 2, pp. 34 paragraphs, October 2003

Baker, Geoff
"Portraying the Quest for Buddhist Wisdom? A Comparative Study of The Matrix and Crouching Tiger, Hidden Dragon." Journal of Religion and Film, vol. 10, no. 1, pp. [16 paragraphs], April 2006

Beus, Yifen
"Oriental's Orientalism: The Fantastic and Cultural Authenticity." In: Querying the Genealogy: Comparative and Transnational Studies in Chinese American Literature. Shanghai : Yi wen chu ban she, 2006.
Chinese Stdy PL3158.W45 2006

Cai, Rong
"Gender Imaginations in Crouching Tiger, Hidden Dragon and the Wuxia World." positions: east asia cultures critique, vol. 13, no. 2, pp. 441-71, October 2005
UC users only

Chan, Felicia
"Crouching Tiger, Hidden Dragon: Cultural Migrancy and Translatability." In: Chinese films in focus : 25 new takes / edited by Chris Berry. Place/Publisher London : BFI Publishing, 2003.
Chinese Stdy PN1993.5.C4.C463 2003
Main Stack PN1993.5.C4.C463 2003

Chan, Felicia
"Reading Ambiguity and Ambivalence: The Asymmetric Structure of Crouching Tiger, Hidden Dragon." Scope: An Online Journal of Film Studies, pp. (no pagination), November 2003

Chan, K.
"The Global Return of the Wu Xia Pian (Chinese Sword-Fighting Movie): Ang Lee's Crouching Tiger, Hidden Dragon." Cinema Journal v. 43 no. 4 (Summer 2004) p. 3-17
UC users only
"In examining the way Ang Lee's Crouching Tiger, Hidden Dragon grapples with cultural identity and Chineseness, this essay considers Lee's construction of an image of 'China' in the film, as well as its feminist possibilities. These readings reveal Lee's conflicted critique of traditional Chinese cultural centrism and patriarchal hegemony." [MLA Bibliography]

Chen, Pauline
"Crouching Tiger, Hidden Dragon." (Review) Cineaste Fall 2001 v26 i4 p71
UC users only

Corliss, Richard
"Year of the tiger." Time, Dec 4, 2000; Vol. 156, Iss. 23; pg. 166, 3 pgs
UC users only

Crouching tiger, hidden dragon: portrait of the Ang Lee film
foreword and notes by Ang Lee and James Schamus ;... 1st ed. New York: Newmarket Press, c2000. Newmarket pictorial moviebook.
Main Stack PN1997.C8772.C76 2000

Deppman, Hsiu-Chuang
"Wang Dulu and Ang Lee Artistic Creativity and Sexual Freedom in Crouching Tiger, Hidden Dragon." In: Adapted for the screen: the cultural politics of modern Chinese fiction and film / Hsiu-Chuang Deppman. Honolulu, T.H. : University of Hawai'i Press, c2010.
Full-text available online [UC Berkeley users only]

Eckholm, Erik
"A filmmaker reroutes the flow of history." (director Ang Lee discusses his new film on the set of 'Crouching Tiger, Hidden Dragon')(Living Arts Pages) The New York Times Dec 16, 1999 pB2(N) pE1(L) col 3 (35 col in)

Elley, Derek
"Asia to `Tiger': kung-fooey." (motion picture Crouching Tiger, Hidden Dragon) Variety Feb 5, 2001 v381 i11 p1

Eperjesi, John R.
"Crouching Tiger, Hidden Dragon: Kung Fu Diplomacy and the Dream of Cultural China." Asian Studies Review. 28 (1): 25-39. 2004 Mar.

Gordon, Devin
"It's the Year of the Dragon: With 'Crouching Tiger, Hidden Dragon,' director Ang Lee takes the leap of his career." (Arts and Entertainment) Newsweek Dec 4, 2000 p60

Kemp, Philip
"Stealth and duty." (film Crouching Tiger, Hidden Dragon)(Cover Story) Sight and Sound Dec 2000 v10 i12 p12(4)

Kim, L.S.
"Crouching Tiger, Hidden Dragon Making women warriors — a transnational reading of Asian female action heroes." Jumpcut No. 48, winter 2006

Klein, C.
"Crouching Tiger, Hidden Dragon: A Diasporic Reading." Cinema Journal v. 43 no. 4 (Summer 2004) p. 18-42
UC users only

Landler, Mark
"It's raining tigers and dragons; Asian filmmakers rush to repeat an Oscar winner's success." (Living Arts Pages) The New York Times July 2, 2001 pB1(N) pE1(L) col 2 (30 col in)

Landler, Mark
"Lee's 'Tiger,' celebrated everywhere but at home." ('Crouching Tiger, Hidden Dragon')(Living Arts Pages)_(movie review) The New York Times Feb 27, 2001 pB1(N) pE1(L) col 1 (20 col in)

Leung, William
"Crouching sensibility, hidden sense." Film Criticism v. 26 no. 1 (Fall 2001) p. 42-55
UC users only
"Ang Lee's film Crouching Tiger, Hidden Dragon daringly amalgamates seemingly incompatible ingredients to create a unified, original product. The film is adapted from a Chinese novel in the wuxia genre, a form of narrative in which traditional ideas about good and evil are played out in the adventures of skillful, spiritually attuned warriors. Lee's feminized reworking of the standard wuxia story in this film may be colored by his working acquaintance with the fiction of Jane Austen. It can be argued that what Lee achieves here is a retelling of an exciting story that not only imbues Austen's "warm-hearted romance and drama" with nuances of a wuxia world, but also is enriched by the keenness of ironic vision and sensitivity to feminine experience that are the hallmark of Austen's work. The film's success is largely due to the bold willingness of Lee and his team to experiment with juxtaposing Eastern and Western knowledge, wisdom, and traditions." [Art Index]

Levie, Matthew
"The Art Film Hidden Inside the Chop-socky Flick: Ang Lee: third-stage feminist?" Bright Lights

Levitin, Jacqueline
"Crouching Tiger Hidden Dragon, Hero, and House of the Flying Daggers: Interpreting Gender Thematics in the Contemporary Swordplay Film-A View from the West." Asian Cinema, vol. 17, no. 1, pp. 166-82, April 2006

Lo, Kwai-cheung.
"Tigers crouch and dragons hide in new trans-Chinese cinema." In: Chinese Face/Off : The Transnational Popular Culture of Hong Kong Urbana ; Chicago : University of Illinois Press, c2005.
Anthro: DS796.H75 L557 2005

Lyman, Rick
"Crouching memory, hidden heart: watching movies with Ang Lee." (Living Arts Pages. The New York Times March 9, 2001 pB1(N) pE1(L) col 2 (50 col in)

Madsen, Deborah L.
"Transcendence through Violence: Women and the Martial Arts Motif in Recent American Fiction and Film." In: Literature and the visual media / edited by David Seed for the English Association. Woodbridge, Suffolk ; Rochester, NY : D.S. Brewer, 2005.
Main Stack PN1995.3.L58 2005

McCarthy, Todd
"Crouching tiger, hidden dragon." (motion picture review) Variety May 22, 2000 v379 i1 p20

Morris, Gary
"Beautiful Beast: Crouching Tiger, Hidden Dragon" Bright Lights

Nordin, Kenneth D.
"Shadow Archetypes in Ang Lee's Crouching Tiger, Hidden Dragon and The Hulk: A Jungian Perspective." Asian Cinema, vol. 15, no. 2, pp. 120-32, October 2004

Persons, Mitch.
"Ang Lee on Crouching Tiger, Hidden Dragon." Cinefantastique, Apr2001, Vol. 33 Issue 1/2, p96-99, 4p
UC users only

Pham, Minh-Ha T.
"The Asian Invasion (of Multiculturalism) in Hollywood." Journal of Popular Film and Television, vol. 32, no. 3, pp. 121-31, October 2004

Piegay, Baptiste
"Crouching tiger, hidden dragon." (motion picture review) Cahiers du Cinema no550 Oct 2000. p. 102-3
"A review of Crouching Tiger, Hidden Dragon, a film by Ang Lee. The film begins with the story of a sword belonging to Li Mu Bai, a warrior who, having laid down his arms, decides to leave it to Te. The film is inscribed within the recent history of Hong Kong cinema, torn between Hollywood and the 35-year-old tradition of martial-arts movies. The special effects, instead of tipping the balance of the film from the Hong Kong tradition to that of films such as The Matrix, amplify it, exploiting its potential to the utmost." [Art Index]

Rainer, Peter
"Crouching Tiger, Hidden Dragon." (Review) New York Dec 11, 2000 v33 i48 p76(2)

Rayns, Tony
"Crouching Tiger, Hidden Dragon." (Review) Sight and Sound Jan 2001 v11 i1 p45(2)

Schamus, James
"The polyglot task of writing the global film." (translating the wuxia genre for 'Crouching Tiger, Hidden Dragon') The New York Times Nov 5, 2000 s0 pMT25(N) pMT25(L) col 1 (31 col in)

Simpson, Craig S.
"'Crouching Tiger': the rebirth of myth." (motion picture Chronicle of Higher Education, March 22, 2001 v47 i28 pB19(1)
An analysis of the motion picture 'Crouching Tiger, Hidden Dragon' is provided. The author explores the ancient myth the movie depicts and discusses the importance of myth
UC users only

Slampyak, Diana E.
"Chivalric Virtues in Female Form: Crouching Tiger, Hidden Dragon's Wudan Warrior Princess as Medieval Hero." In: The Medieval Hero on Screen: Representations from Beowulf to Buffy. / edited by Martha W. Driver and Sid Ray ; with a foreword by Jonathan Rosenbaum. Jefferson, N.C. : McFarland, c2004.
Main Stack PN1995.9.H44.M44 2004

Stephens, Chuck.
"Crouching Tiger, Hidden Dragon" (movie review) Film Comment Nov 2000 v36 i6 p73
UC users only

Teo, Stephen
"Love and Swords: The Dialectics of Martial Arts Romance." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 11, pp. (no pagination), December 2000

Teo, Stephen
"Wuxia Redux: Crouching Tiger, Hidden Dragon as a Model of Late Transnational Production." In: Hong Kong connections : transnational imagination in action cinema / edited by Meaghan Morris, Siu Leung Li, and Stephen Chan Ching-kiu. Durham : Duke University Press ; Hong Kong : Hong Kong University Press, 2005.
Main Stack PN1995.9.A3.H66 2005

Thrupkaew, Noy.
"Crouching Tiger, Hidden Dragon--Kick-Butt Feminism of a Different Kind." Sojourner: The Women's Forum, Feb2001, Vol. 26 Issue 6, p27-30, 2p

Travers, Peter
"Hot kick: Crouching tiger, hidden dragon." Rolling Stone, Sep 14, 2000, Iss. 849; pg. 119, 1 pgs
UC users only

Tsai, Robin Chen-hsing
"The Gaze of the Other in Ang Lee's Crouching Tiger, Hidden Dragon and Hitchcock's The Birds." Concentric: Literary and Cultural Studies, vol. 28, no. 1, pp. 181-202, January 2003

Vida, Judith E.
"Crouching Tiger, Hidden Dragon": a "psychoanalytic" comment. (movie review) The American Journal of Psychoanalysis Dec 2001 v61 i4 p411(4)
UC users only

Wang, Georgette; Yeh, Emilie Yueh-yu
"Globalization and Hybridization in Cultural Products: The Cases of Mulan and Crouching Tiger, Hidden Dragon." International Journal of Cultural Studies, vol. 8, no. 2, pp. 175-93, June 2005

Williams, David E.
"High-flying adventure." American Cinematographer v 82 no1 Jan 2001. p. 54-62, 66-7
"Cinematographer Peter Pau's work on Crouching Tiger, Hidden Dragon, a film directed by Ang Lee, is discussed. Shot on location in China, this Hong Kong-style, martial-arts epic tells the story of legendary warrior Li Mu Bai, who, along with his beloved Yu Shu Lien, attempts to recover his stolen jade sword and unveil the nefarious forces behind its theft. Lee and Pau opted to frame the film in 2.35:1 widescreen, which they felt would best serve the film's dramatic scenes. Filming with a Moviecam Compact as his A-camera and an Arri 435ES for high-speed and visual-effects work, Pau selected Kodak Vision 320T 5277 as his main stock in order to soften the film's overall palette. Daylight scenes were filmed with 50ASA EXR 5245, while Vision 250D 5246 and the 5245 were used for situations with low light or shadow conditions. The fighting scenes demanded a tremendous amount of wire work, which in turn required digital retouching in postproduction." [Art Index]

Eat Drink Man Woman

Denby, David.
"Eat Drink Man Woman." (movie reviews) New York v27, n34 (August 29, 1994):110 (2 pages).

Francke, Lizzie.
"Yinshi Nan Nu" (Eat Drink Man Woman). (movie reviews) Sight and Sound v5, n1 (Jan, 1995):63 (2 pages).

Hamlin, Suzanne.
"Le grand exces spices love poems to food." (Ang Lee's 'Eat Drink Man Woman' is latest in series of movies in which food and food appreciation play an important role) New York Times v143, sec2 (Sun, July 31, 1994):H9(N), H9(L), col 1, 38 col in.

Kauffmann, Stanley.
"Eat Drink Man Woman." (movie reviews) New Republic v211, n10 (Sept 5, 1994):36.

Maslin, Janet.
"Eat Drink Man Woman." (movie reviews) New York Times v143 (Wed, August 3, 1994):B3(N), C16(L), col 1, 18 col in.

Schickel, Richard.
"Eat Drink Man Woman." (movie reviews) Time v144, n7 (August 15, 1994):61.

Sheng-mei Ma.
"Ang Lee's domestic tragicomedy: immigrant nostalgia, exotic/ethnic tour, global market." Journal of Popular Culture v30, n1 (Summer, 1996):191 (11 pages).
UC users only
Ang Lee's trilogy 'Pushing Hands,' 'Wedding Banquet,' and 'Eat Drink Man Woman' are domestic tragicomedies that depict the immigrant's culture and dilemma in the US, and weakens racial, cultural and sexual identities. The films, produced through a joint venture between Western and Taiwanese crews, were conceived with a global audience in mind. Lee's leading roles possess an immigrant subjectivity that breaks the barriers between the first and third worlds. The trilogy comprises both immigrant nostalgia and a tour of the exotic and the ethnic.

Sterritt, David.
"Taiwanese filmmaker sees his art as a delightful culinary adventure." (Ang Lee's "Eat Drink, Man Woman") Christian Science Monitor v86, n179 (Tue, August 9, 1994):13, col 1, 24 col in.

The Ice Storm

Alleva, Richard.
"Ice Storm." Commonweal 124.n21 (Dec 5, 1997): 13(1).
UC users only

Donald, Stephanie Hemelryk
"The ice storm : Ang Lee, cosmopolitanism, and the global audience." In: Contracting out Hollywood : runaway productions and foreign location shooting / edited by Greg Elmer & Mike Gasher. Lanham, MD : Rowman & Littlefield, 2005.
Bus & Econ PN1995.67.A1.C66 2005

Edwards, Rebecca.
"Sickness in the Family." Screen Education, 2006 Issue 43, p141-144, 4p;
UC users only
"This article discusses emotional frigidity, corruption and responsibility that have been portrayed in the film "The Ice Storm," directed by Ang Lee, for the purpose of film education. The film depicts a story whose objective is to present a lesson on morality. The film uses a family model to provide a microcosmic view of a direction and foundation-less society." [Academic Search Complete]

Francke, Lizzie.
"The Ice Storm." Sight & Sound, Feb98, Vol. 8 Issue 2, p42-42, 1p,

Higuinen, E.
"Ice storm." Cahiers du Cinema no. 522 (March 1998) p. 75-6

Matthews, Peter.
"The big freeze." Sight and Sound 8.n2 (Feb 1998): 12(3).
"'The Ice Storm' by Ang Lee is based on Rick Moody's novel of the same name, and stars Kevin Kline and Sigourney Weaver. The film portrays only two to three days in the life of the Hood family, where relationships are strained between all members: parents Ben and Elena and their teenage children Paul and Wendy. The film is set in the 1970s and is paralleled to a traditional art movie, which will not necessarily appeal to all." [Expanded Academic Index]

Sconce, Jeffrey
"Irony, nihilism and the new American 'smart' film." Screen (London, England) v. 43 no. 4 (Winter 2002) p. 349-69
"North American cinema of the 1990s and early 2000s is characterized by a "sensibility" that gives it historical, thematic, and even stylistic cohesion. Disparate but often sympathetic movies such as Todd Solondz's Happiness and Ang Lee's The Ice Storm survive (and sometimes thrive) at the symbolic and material intersection of "Hollywood," "indie," and "art" cinema. As such, they might be better described as "smart" cinema targeted to younger, more educated, "bohemian" audiences than other types of cinema. They concentrate, frequently with ironic disdain, on the "personal politics" of power, communication, emotional dysfunction, and identity in white middle-class culture. Critics use a range of terms to describe them, such as ironic, cynical, relativist, and nihilist. However, the smirking irony they use is a retreat from the moral map of the social formation that so frequently sits in judgment of this irony rather than a disengagement from belief, politics, and commitment." [Art Index]

Simon, John.
"Suburbia and Sub Rosa." National Review, 11/24/1997, Vol. 49 Issue 22, p61-62, 2p;
UC users only

Sklar, Robert.
"The Ice Storm." Cineaste, Dec97, Vol. 23 Issue 2, p41, 2p,
UC users only

Lust, Caution

Chen, Boyu; Hwang, Ching-Chane ; Ling, L. H. M.
"Lust/Caution in IR: Democratising World Politics with Culture as a Method." Millennium 2009, Vol. 37 Issue 3, p743-766, 24p
UC users only

Kauffmann, Stanley
"Desire and Deceit." New Republic; 10/22/2007, Vol. 237 Issue 8, p33-34, 2p
UC users only

Lane, Anthony.
"Nocturnes." New Yorker, 10/22/2007, Vol. 83 Issue 32, p186-187, 2p
UC users only

Lee, Haiyan
"Enemy under My Skin: Eileen Chang's Lust, Caution and the Politics of Transcendence." PMLA: Publications of the Modern Language Association of America, vol. 125, no. 3, pp. 640-656, 896, 2010 May
UC users only
"Emmanuel Levinas's ethical philosophy, particularly his notions of transcendence and the 'face of the other,' illuminates Eileen Chang's short story Lust, Caution (Se, jie) and, to a lesser extent, Ang Lee's film adaptation. Lust, Caution tells of an assassination plot against a collaborator with the Japanese during the second Sino-Japanese War in which the heroine's fatal decision to let go of her enemy results in the deaths of herself and her comrades. The story problematizes the status of the personal and ethical in times of war, occupation, and resistance through the heroine's path from the collective anonymity of national salvation to the theatrical solitude of underground activism and the intersubjective encounter with the face of the other. Also relevant is Hannah Arendt's theory of the (bourgeois) social, which in conjunction with its feminist revision prompts reflections on women's space of action in 'dark times.'" [MLA]

Lee, Leo Ou-fan.
"Ang Lee's "Lust, Caution" and Its Reception." boundary 2, Fall2008, Vol. 35 Issue 3, p223-238, 16p
UC users only

Shih, Alice.
"Deciphering Lust, Caution.: (Critical essay) CineAction - Spring 2009 i76 p63(3)
UC users only

Ride with the Devil

Kauffmann, Stanley.
"Fact as Fiction and Vice Versa." New Republic; 12/20/99, Vol. 221 Issue 25, p30-32, 2p
UC users only
Matthews, Peter.
"Gone with the Wounded." Sight & Sound, Dec99, Vol. 9 Issue 12, p34-35, 2p

Tibbetts, John C.
"The Hard Ride: Jayhawkers and Bushwhackers in the Kansas-Missouri Border Wars--"Ride with the Devil."" Literature Film Quarterly, 1999, Vol. 27 Issue 3, p189, 7p
UC users only

Tibbetts, John C.
""Plains" speaking : sound, sense, and sensibility in Ang Lee's Ride with the devil." In: The literature/film reader : issues of adaptation / edited by James M. Welsh, Peter Lev. Lanham, Md. : Scarecrow Press, 2007.
Main Stack PN1997.85.L516 2007

Tibbetts, John C.
"Ride with the Devil." American Historical Review, Feb2000, Vol. 105 Issue 1, p325, 2p;
UC users only

David Thomson.
"Ride with the Devil." Film Comment. Nov/Dec 1999. Vol. 35, Iss. 6; p. 4 (5 pages)
UC users only

Sense and Sensibility

The Wedding Banquet

Ansen, David.
"The Wedding Banquet." (movie reviews) Newsweek v122, n7 (August 16, 1993):61.

Berry, Chris
"Wedding Banquet: A Family (Melodrama) Affair." In: Chinese films in focus : 25 new takes / edited by Chris Berry. London : BFI Publishing, 2003.
East Asian PN1993.5.C4.C463 2003
Main Stack PN1993.5.C4.C463 2003

Bowman, James.
"The Wedding Banquet." (movie reviews) American Spectator v26, n11 (Nov, 1993):70.

Chiang, Mark
"Coming Out into the Global System: Postmodern Patriarchies and Transnational Sexualities in The Wedding Banquet." In: Screening Asian Americans / edited and with an introduction by Peter X. Feng. New Brunswick, N.J. : Rutgers University Press, c2002.
Main Stack PN1995.9.A77.S79 2002
Asian Amer PN1995.9.A77.S79 2002
PFA PN1995.9.A77.S79 2002

Chua, Ling-Yen.
"The cinematic representation of Asian homosexuality in 'The Wedding Banquet.'"(Special Double Issue Multicultural Queer: Australian Narratives) Journal of Homosexuality v36, n3-4 (March, 1999):99.
"Author Abstract: Over the last decade, there has been an increasing number of western films which represent both homosexuals and Asian people. However, the homosexuals depicted in these films are often white, and the Asians are almost always heterosexual. In an attempt to account for the scarcity of western films containing Asian homosexuals, this paper aims to examine some of the common cinematic tropes and theoretical discourses used to depict and define both Asians and homosexuals. As one of the few feature-length films containing an Asian homosexual central character, Ang Lee's The Wedding Banquet will also be discussed." COPYRIGHT 1999 Haworth

Corliss, Richard.
"All in the Families." (motion pictures "The Joy Luck Club" and "The Wedding Banquet") Time v142, n11 (Sept 13, 1993):68 (2 pages).

Denby, David.
"The Wedding Banquet." (movie reviews) New York v26, n34 (August 30, 1993):136.

Dong, Lan
"Diverse Identities in Interracial Relationships: A Multiethnic Interpretation of Mississippi Masala and The Wedding Banquet." Xchanges, vol. 4, no. 1, pp. [no pagination], September 2004

Dong, Lan.
"Tracing Chinese Gay Cinema 1993-2002." CLCWeb: Comparative Literature and Culture: A WWWeb Journal, Jun2005, Vol. 7 Issue 2, p15-21, 7p
UC users only

Feng, P. X.
"We're queer! We're where?: locating transgressive films." In: Screening Asian Americans / edited and with an introduction by Peter X. Feng. New Brunswick, N.J. : Rutgers University Press, c2002.
Main Stack PN1995.9.A77.S79 2002
Asian Amer PN1995.9.A77.S79 2002

Holden, Stephen.
"The Wedding Banquet." (movie reviews) New York Times v142 (Wed, August 4, 1993):B3(N), C18(L), col 4, 21 col in.

Hornaday, Ann.
"A Director's Trip from Salad days to a 'Banquet.'" (profile of Ang Lee, director of 'The Wedding Banquet') New York Times v142, sec2 (Sun, August 1, 1993):H25(N), H25(L), col 1, 24 col in.

Huang, Shaorong
"Filial Piety Is the Root of All Virtues: Cross-Cultural Conflicts and Intercultural Acceptance in Ang Lee's Films." Popular Culture Review, vol. 10, no. 1, pp. 53-67, Feb 1999

Kauffmann, Stanley.
"The Wedding Banquet." (movie reviews) New Republic v209, n7 (August 16, 1993):25.

Kort, Michele.
"The Wedding Banquet." (movie reviews) Advocate, n634 (July 27, 1993):71.

Leung, William.
"So Queer Yet So Straight: Ang Lee's The Wedding Banquet and Brokeback Mountain." Journal of Film & Video, Spring2008, Vol. 60 Issue 1, p23-42, 20p
UC users only
"The article discusses how the motion pictures "The Wedding Banquet" and "Brokeback Mountain," directed by Ang Lee, have changed GLBT cinema. The author suggests that GLBT films can include films produced by GLBT filmmakers or embraced by GLBT audiences. He suggests that Lee's conventional style of filmmaking aids in making his films about gay characters accessible to wider audiences but results in a muted depiction of gay lifestyles. He notes the lack of camp in the presentation of gay characters in "The Wedding Banquet" and how "Brokeback Mountain" functions as a classical tragedy." [Ebsco]

Lim, January
"Father knows best: reading sexuality in Ang Lee's The wedding banquet and Chay Yew's Porcelain." In: Reading Chinese transnationalisms : society, literature, film / edited by Maria Ng and Philip Holden. Hong Kong : Hong Kong University Press ; London : Eurospan [distributor], 2006.
Chinese Stdy DS732.R42 2006

Lim, Song Hwee
"The burden of representation : Ang Lee's The wedding banquet." In: Celluloid comrades : representations of male homosexuality in contemporary Chinese cinemas / Song Hwee Lim. Honolulu : University of Hawai'i Press, 2006.
Main Stack PN1995.9.H55.L56 2006
Table of Contents http://www.loc.gov/catdir/toc/ecip0612/2006012837.html

Ling-Yen Chua.
"The cinematic representation of Asian homosexuality in The Wedding Banquet." Journal of Homosexuality, 1999, Vol. 36 Issue 3/4, p99, 14p

Liu, Cynthia W.
"'To Love, Honor and Dismay': Subverting Constructions of the Feminine in Ang Lee's Trilogy of Resuscitated Patriarchs." Hitting Critical Mass: A Journal of Asian American Cultural Criticism, vol. 3, no. 1, pp. 1-60, Winter 1995

Marchetti, Gina
"The wedding banquet : global Chinese cinema and the Asian American experience." In: Countervisions : Asian American film criticism / edited by Darrell Y. Hamamoto and Sandra Liu. Philadelphia : Temple University Press, 2000.
Main Stack PN1995.9.A78.C68 2000
Asian Amer PN1995.9.A78.C68 2000
PFA PN1995.9.A78.C68 2000

Sheng-mei Ma.
"Ang Lee's domestic tragicomedy: immigrant nostalgia, exotic/ethnic tour, global market." Journal of Popular Culture v30, n1 (Summer, 1996):191 (11 pages).
UC users only
Ang Lee's trilogy 'Pushing Hands,' 'Wedding Banquet,' and 'Eat Drink Man Woman' are domestic tragicomedies that depict the immigrant's culture and dilemma in the US, and weakens racial, cultural and sexual identities. The films, produced through a joint venture between Western and Taiwanese crews, were conceived with a global audience in mind. Lee's leading roles possess an immigrant subjectivity that breaks the barriers between the first and third worlds. The trilogy comprises both immigrant nostalgia and a tour of the exotic and the ethnic.

Sterrit, David.
"The Wedding Banquet." (movie reviews) Christian Science Monitor v85, n176 (Fri, August 6, 1993):12, col 1, 5 col in.

Summerfield, Ellen
"Gay culture : The wedding banquet." In: Seeing the big picture : exploring American cultures on film / Ellen Summerfield and Sandra Lee. Yarmouth, Me. : Intercultural Press, 2001
Main Stack PN1995.9.M56.S86 2001

Wang, Shujen.
"In the name of the father: gender politics in "The Wedding Banquet."" Visual Anthropology, 1997, Vol. 9 Issue 2, p187-192, 6p

"The Wedding Banquet." (movie reviews)
Migration World Magazine v22, n2-3 (March-June, 1994):44.

Wyatt, Justin
"Marketing Marginalized Cultures: The Wedding Banquet, Cultural Identities, and Independent Cinema of the 1990s." In: The end of cinema as we know it : American film in the nineties / edited by Jon Lewis. New York : New York University Press, c2001.
Main Stack PN1993.5.U6.E53 2001

Jackie Chan

Banerjee, Mita.
"The Rush Hour of Black/Asian Coalitions? Jackie Chan and Blackface Minstrelsy." In: AfroAsian encounters : culture, history, politics / edited by Heike Raphael-Hernandez and Shannon St New York : New York University Press, c2006.
Full text available online [UCB users only]
Main (Gardner) Stacks E185.615 .A5935 2006
Asian American Studies E185.615 .A5935 2006

Chan, Kenneth.
"Mimicry as Failure: Jackie Chan in Hollywood." Asian Cinema, Fall/Winter2004, Vol. 15 Issue 2, p84-97, 15p
The article examines actor Jackie Chan's strategies of transformation in the initial phases of his Hollywood career. The formula for Chan's success of becoming a transnational cinematic superstar is his ability to morph while maintaining his star persona that he has cultivated through the years. Social and cultural politics played a significant role in Chan's career transformations and its relationship to the strategy of audience appeal. The author also examines the two elements in Chan's shifting star persona as they appear in his movies such as "The Tuxedo" (Kevin Donovan, 2002), "Shanghai Noon" (Tom Dey, 2000) and Shanghai Knights" (David Dobkin, 2002).

Coonfield, Gordon.
"Thinking Machinically, or, the Techno-aesthetic of Jackie Chan: Toward a Deleuze-Guattarian Media Studies." Critical Studies in Media Communication, Oct2006, Vol. 23 Issue 4, p285-301, 17p
UC users only

Corcoran, John
The unauthorized Jackie Chan encyclopedia : from Project A to Shanghai noon and beyond / John Corcoran Chicago : Contemporary Books, c2003.
Main (Gardner) Stacks PN2878.C52 C67 2003

Duncan, Sydney
"'The Traditional Thing' in 'The Modern Age'." New Review of Film & Television Studies; Dec2007, Vol. 5 Issue 3, p353-367, 15p
UC users only

Farquhar, Mary.
"Jackie Chan: a new dragon for a new generation." Journal of Chinese Cinemas, 2008, Vol. 2 Issue 2, p137-146, 10p
UC users only

Fore, Steve.
"Jackie Chan and the Cultural Dynamics of Global Entertainment." In: Transnational Chinese cinemas: identity, nationhood, gender Edited by Sheldon Hsiao-peng Lu. Honolulu, HI: University of Hawaii Press, 1997.
Full text available online (UCB users only)
UCB AsianAmer PN1993.5.C4 T65 1997
UCB CenChiStu PN1993.5.C4 T65 1997
UCB Main PN1993.5.C4 T65 1997

Fore, Steve.
"Life Imitates Entertainment: Home and Dislocation in the Films of Jackie Chan." In: At full speed: Hong Kong cinema in a borderless world Esther C.M. Yau, editor. Minneapolis: University of Minnesota Press, c2001.
Full text available online (UCB users only)
UCB East Asia PN1993.5.C4 A184 2001
UCB Main PN1993.5.C4 A184 2001

Gallagher, Mark
"Masculinity in Translation: Jackie Chan's Transcultural Star Text." Velvet Light Trap: A Critical Journal of Film & Television, Spring97, Issue 39, p23-41, 19p

Gallagher, Mark
"Restaging Heroic Masculinity: Jackie Chan and the Hong Kong Action Film." In: Action figures : men, action films, and contemporary adventure narratives / by Mark Gallagher. New York, N.Y. : Palgrave Macmillan, 2006.
Full text available online (UCB users only)
Main (Gardner) Stacks PN1995.9.A3 G35 2006

Hong, Jeeson
"Trans-regional Circulation of Jackie Chan's Image in the Late Cold War Years' East Asia." Asian Cinema, Spring/Summer2009, Vol. 20 Issue 1, p74-97, 24p

Jayamanne, Laleen
"Let's miscegenate : Jackie Chan and his African-American connection." In: Hong Kong connections : transnational imagination in action cinema / edited by Meaghan Morris, Siu Leung Li, and Stephen Chan Ching-kiu. Durham : Duke University Press ; Hong Kong : Hong Kong University Press, 2005.
Main (Gardner) Stacks PN1995.9.A3 H66 2005

Jeeson Hong.
"Trans-regional Circulation of Jackie Chan's Image in the Late Cold War Years' East Asia." Asian Cinema, Spring/Summer2009, Vol. 20 Issue 1, p74-97, 24p

Klein, Christina.
"Martial arts and the globalization of US and Asian film industries." Comparative American Studies, Sep2004, Vol. 2 Issue 3, p360-384, 25p
UC users only

Kwai-Cheung Lo.
"Double negations: Hong Kong cultural identity in Hollywood's transnational representations." (Becoming (Postcolonial) Hong Kong)(Critical Essay) Cultural Studies July-Oct 2001 v15 i3-4 p464(22)
UC users only
" Hong Kong film actors such as Jackie Chan have been reconstructed to suit the emerging transnational identity of the former colony. The motion picture 'Rush Hour' demonstrates how Chinese identity and the symbolic realm of films are simultaneously negated.?" [Expanded Academic Index]

Lau, Dorothy Wai-Sim.
"The Flickering of Jackie Chan: Transnational Chinese Film Stardom, Web 2.0, and the Signification of Performance." International Journal of the Humanities, 2010, Vol. 8 Issue 2, p11-22, 12p
UC users only

Lo, Kwai-cheung.
"Charlie Chan reborn as Jackie Chan in Hollywood-Hong Kong representations." In: Chinese Face/Off : The Transnational Popular Culture of Hong Kong Urbana ; Chicago : University of Illinois Press, c2005.
Anthro: DS796.H75 L557 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip0421/2004018122.html

Lo, Kwai-cheung.
"Double negations: Hong Kong cultural identity in Hollywood's transnational representations." (Becoming (Postcolonial) Hong Kong)(Critical Essay) Cultural Studies July-Oct 2001 v15 i3-4 p464(22)
UC users only
" Hong Kong film actors such as Jackie Chan have been reconstructed to suit the emerging transnational identity of the former colony. The motion picture 'Rush Hour' demonstrates how Chinese identity and the symbolic realm of films are simultaneously negated.?" [Expanded Academic Index]

Lu, Sheldon H.
"Jackie Chan and the Cultural Dynamics of Global Entertainment." In: Transnational Chinese cinemas : identity, nationhood, gender / edited by Sheldon Hsiao-peng Lu. Honolulu, HI : University of Hawaii Press, 1997.
Full-text available online (UC Berkeley users only)
Asian American Studies PN1993.5.C4 T65 1997
East Asian PN1993.5.C4 T65 1997
Main (Gardner) Stacks PN1993.5.C4 T65 1997

Marchetti, Gina.
"Jackie Chan and the Black Connection." In: Keyframes: popular cinema and cultural studies / edited by Matthew Tinkcom and Amy Villarejo. pp: 137-58. London; New York: Routledge, 2001.
Main Stack PN1995.9.S6.K49 2001

Meyers, Richard
Great martial arts movies : from Bruce Lee to Jackie Chan -- and more / Ric Meyers ; original research associates, Amy Harlib, Bill Palmer, Karen Palmer. New York : Citadel Press, c2001.
Main (Gardner) Stacks PN1995.9.H3 M48 2001

Minh-Ha T. Pham.
"The Asian invasion (of multiculturalism) in Hollywood." Journal of Popular Film and Television Fall 2004 v32 i3 p121(11) (8328 words)
UC users only

Nishime, LeiLani.
""I'm blackanese" : buddy-cop films, rush hour, and Asian American anrican American cross-racial identification." In: Asian North American identities : beyond the hyphen / edited by Eleanor Ty and Donald C. Goellnicht. Bloomington : Indiana University Press, c2004.
Main Stack PS153.A84.A86 2004; Asian Amer PS153.A84.A86 2004

Pang, Laikwan
"Jackie Chan, tourism, and the performing agency." In: Hong Kong film, Hollywood and the new global cinema : no film is an island / edited by Gina Marchetti and Tan See Kam. London ; New York : Routledge, 2007.
Main (Gardner) Stacks PN1993.5.C4 H66 2007

Reid, Craig.
"An evening with Jackie Chan." Bright Lights Film Journal, Summer 1994, Issue 13, p18-25, 8p

Shu, Yuan.
"From Bruce Lee to Jackie Chan." Journal of Popular Film & Television, Summer2003, Vol. 31 Issue 2, p50-59, 10p
UC users only

Shu, Yuan.
"Reading the Kung Fu Film in an American Context: From Bruce Lee to Jackie Chan." Journal of Popular Film and Television, vol. 31, no. 2, pp. 50-59, 2003 Summer UC users only

Szeto, Kin-Yan.
"Jackie Chan's Cosmopolitical Consciousness and Comic Displacement." Modern Chinese Literature and Culture, vol. 20, no. 2, pp. 229-261, 2008 Fall

Tateishi, Ramie.
"Jackie Chan and the re-invention of tradition." Asian Cinema, 1998, Vol. 10 Issue 1, p78-84, 7p

Zuengler, Jane.
"Jackie Chan drinks Mountain Dew: constructing cultural models of citizenship." Linguistics & Education, Sep2003, Vol. 14 Issue 3/4, p277-303, 27p UC users only

Rush Hour

Banerjee, Mita.
"The Rush Hour of Black/Asian Coalitions? Jackie Chan and Blackface Minstrelsy." In: AfroAsian encounters : culture, history, politics / edited by Heike Raphael-Hernandez and Shannon St New York : New York University Press, c2006.
Full text available online [UCB users only]
Main (Gardner) Stacks; Asian American Studies E185.615 .A5935 2006

Nishime, LeiLani.
""I'm blackanese" : buddy-cop films, rush hour, and Asian American anrican American cross-racial identification." In: Asian North American identities : beyond the hyphen / edited by Eleanor Ty and Donald C. Goellnicht. Bloomington : Indiana University Press, c2004.
Main Stack PS153.A84.A86 2004; Asian Amer PS153.A84.A86 2004

Joan Chen

Xiu Xiu (The Sent Down Girl)

Chen, Pauline.
"Xiu Xiu: The Sent Down Girl." (movie reviews) Cineaste v24, n4 (Fall, 1999):40.

Cheng, Scarlet
"A shooting star." Far Eastern Economic Review Dec 31, 1998/Jan 7, 1999; Vol. 162, Iss. 1; pg. 94, 2 pgs

Corliss, Richard
"Joan of Art." Time Apr 5, 1999; Vol. 153, Iss. 13; pg. 60, 3 pgs

Elley, Derek.
"Xiu Xiu: The Sent Down Girl." (movie reviews) Variety v370, n3 (March 2, 1998):86 (1 page).

Faison, Seth.
"China bans a filmmaker for eluding censorship." (Joan Chen) New York Times (Thu, April 29, 1999):B1(N), E1(L), col 4, 25 col in.

Goodale, Gloria.
"Filming China's tumultuous past." (Joan Chen debuts as director in 'Xiu-Xiu: The Sent-Down Girl) Christian Science Monitor (May 28, 1999):18.

Holden, Stephen
"Poetic Landscape, Nightmarish Exile: A Chinese Victim of the 60's Revolution." [Review]; York Times, (Fri, May 7, 1999):B21(N), E21(L), col 1, 35 col in.

Lan, Feng
"Reframing the Chinese Cultural Revolution in Diaspora: Joan Chen's The Sent-Down Girl." Literature/Film Quarterly, vol. 32, no. 3, pp. 193-98, 2004.

Lim, Dennis
"Desperate Measures." The Village Voice, May 11, 1999; Vol. 44, Iss. 18; pg. 72, 1 pgs

Ng, Isabella; Short, Stephen.
"Joan of Art: Once the transpacific princess of good films and bad, Joan Chen is now an award-winning auteur." (The Arts/Show Business)(Review) Time v153, n13 (April 5, 1999):60+ (1 page).

Poon, Wena.
"Xiu Xiu: The Sent Down Girl." (Review) (movie review) Film Quarterly v53, n3 (Spring, 2000):49.

Rainer, Peter
"Xiu Xiu: The Sent Down Girl." (movie reviews) New York May 17, 1999; Vol. 32, Iss. 19; pg. 59, 1 pgs

Shih, Alice.
"Actor, screenwriter, director, Chinese, American, woman, mother: who is Joan Chen?" CineAction - Spring 2007 i72 p46(7)
UC users only

Tsui Hark

Aufderheide, Patricia
"Dynamic duo (interview with Tsui Hark and Nansun Shi)" Film Comment v 24 May/June 1988. p. 43-5

Chute, David
"Playing with guns." Film Comment v 37 no3 May/June 2001. p. 26-7, 29
UC users only
"Director, screenwriter, and producer Tsui Hark, a central figure in contemporary Hong Kong cinema, returns to home ground with Time and Tide. Up to his old tricks, Tsui refreshes well-known genre material and puts his own unique spin on it, marrying state-of-the-art action and surprisingly genuine sentiments. In his first modern Hong Kong action movie since Dangerous Encounters--First Kind, over 20 years ago, Tsui employs all of his sleight-of-hand editing moves and camera dynamism to give the feeling of being carried along by a freight-train rush of action. Moreover, for all its superficial brilliance and fancy footwork, the film is refreshingly old-fashioned, even square in its underlying moral position: This action fantasy about reckless youth advocates confronting facts and the duties that come from them." [Art Index]

"Cinémas d'Asie."
Cahiers du Cinéma; nr.512 (Apr 1997); p.22-53
Dedicated to recent works from Hong Kong and Japan, incl. those by Hou Hsiao-Hsien, Tsui Hark, Takeshi Kitano and Ryosuke Hashiguchi.

Dahan, Yannick
"Tsui Hark. La machine à filmer." Positif; nr.455 (Jan 1999); p.88-90
A celebration of the Hong Kong director

Edelstein, David
"Eastern haunts (Hong Kong ghost movies) Film Comment v 24 May/June 1988. p. 48+

Hampton, Howard.
"Once upon a time in Hong Kong: Tsui Hark and Ching Siu-tung."(filmmakers)(Cover Story) Film Comment, July-August 1997 v33 n4 p16(8).
"Tsui Hark's virtuosity and range as a producer and director have made him the central and most controversial figure in the flowering of Hong Kong cinema that is ending with reunification with China. Ching Siu-tung is his counterpart in innovation but has a more recognizable style." [Expanded Academic Index]

Hastie, Amelie.
"Fashion, Femininity, and Historical Design: Visual Texture of Three Hong Kong Films." Post Script: Essays in Film & the Humanities. 19(1):52-69. 1999 Fall.

Hill, Josha
"Tsui Hark." Current Biography, Oct 2001 v62 i10 p76(7)
A biography of the filmmaker Tsui Hark is presented. Hark has acted, produced directed or written the screenplay for over seventy films and although born in Vietnam is one of Hong Kong's most successful filmmakers.

Kennedy, Harlan
"Beyond kung-fu: seven Hong Kong firecrackers." Film Comment; Vol.XIX nr.5 (Sept-Oct 1983); p.46-47
Briefly profiles seven directors working in Hong Kong.

Kwai-Cheung Lo.
"Knocking Off Nationalism in Hong Kong Cinema: Woman and the Chinese "Thing" in Tsui Hark's Films." Camera Obscura, Sep2006, Vol. 21 Issue 63, p36-61, 26p
UC users only

Lee, Leo Ou-fan.
"Two Films from Hong Kong: Parody and Allegory." In: New Chinese cinemas: forms, identities, politics Edited by Nick Browne ... [et al.]. pp: 202-15. Cambridge [England]; New York: Cambridge University Press, 1994.
UCB CenChiStu PN1993.5.C4 N49 1994
UCB Main PN1993.5.C4 N49 1994
UCB Moffitt PN1993.5.C4 N49 1994

Lalanne, Jean Marc
"The lovers and the blade -- review of two films by Hark Tsui." Cahiers du Cinéma no512 Apr 1997. p. 39
Reviews of two films by Hark Tsui: The Lovers and The Blade. The first, an adaptation of a very popular Chinese opera, centers on the impossible love affair between a poor young man and a rich girl who meet at college. Although it verges on mawkishness at times, the film has a beauty that stems from the extraordinary fluidity of movement from shallow or anodyne moments into those of pure cinematographic poetry. Compared to this little marvel of writing and elegance, The Blade is truly visual chaos: Taking amputation as its motif, it tells the story of a young swordsman whose arm is amputated.

Lo, Kwai-Cheung.
"Once Upon a Time: Technology Comes to Presence in China." Modern Chinese Literature. 7(2):79-96. 1993

Lo, Kwai-Cheung.
"Knocking Off Nationalism in Hong Kong Cinema: Woman and the Chinese "Thing" in Tsui Hark's Films." Camera Obscura no. 63 (2006) p. 36-61
UC users only
"The writer discusses the parallels between Hong Kong filmmaker Tsui Hark's cinematic representation of Chinese nationalism and his female characters. Tsui's representation of nationalism is a sort of knockoff, produced in a fast and cheap way to perpetuate the illusion that there is always a type of natural or innocent form of national devotion, identification, or attachment. This alluring nonreferential nationalism functions to fill the empty place of the supposedly unique Chinese "thing" in a community that has been destroyed both by the process of modernization and by the political rivalry between mainland China and Taiwan. The writer examines how this is paralleled in the filmmaker's female characters, arguing that, just like the women in his films, the Chinese "thing" Tsui creates is only an appearance or an illusory image, which ceaselessly points out the antagonistic nature of the system in which it is created." [Art Index]

Rayns, Tony
"Chinese changes: charting the struggle for a new wave in Hong Kong cinema." Sight and Sound v 54 Winter 1984/1985. p. 24-9

Reid, Craig D.
"Interview with Tsui Hark." Film Quarterly v 48 Spring 1995. p. 34-41
UC users only
"Tsui Hark is the acknowledged leader of Hong Kong's foreign-trained New Wave filmmakers. Tsui, 44, was born in Vietnam, raised in Hong Kong, and trained in America. He is a director, producer, writer, editor, FX supervisor, and part-time actor who has filmed everything from fantasy, science fiction, and horror to comedy, crime, and romance. He consistently produces quality movies at breakneck speed at a fraction of the cost of Hollywood's top action filmmakers. Tsui broke into the international scene with the classic Peking Opera Blues, and he has been credited with developing some of the most violent action epics in the history of film. In an interview, Tsui discusses his training at the University of Texas, his start in Hong Kong with television miniseries, the horror-film genre, the theme of love in his films, the exodus of talent as Hong Kong approaches 1997, his thoughts on filmmaking, and his new film Green Snake." [Art Index]

Saada, Nicolas
"Entretien avec Tsui-Hark": a propos de Chinese ghost story Cahiers du Cinema no415 Jan 1989. p. 18-19

Saada, Nicolas
"Tout Tsui Hark." Cahiers du Cinéma; nr.512 (Apr 1997); p.38-39
A profile of the Hong Kong director plus brief comments on two recent films: "Dou" and "Liang zhu".

Saada, Nicolas
"Nuit de Chine. Entretien avec Tsui-Hark. Cahiers du Cinéma; nr.415 (Jan 1989); p.14-15,17-19
Producer of the film Tsui Hark speaks about his work on "Sinnui yauman".

Schroeder, Andrew.
Tsui Hark's Zu: Warriors from the magic mountain Hong Kong: Hong Kong University, Press, 2004.
MAIN: PN1998.3.T78 S36 2004

Stringer, Julian; Reid, Craig R.
"Peking Opera blues./ Interview with Tsui Hark" Film Quarterly; Vol.XLVIII nr.3 (Spring 1995); p.34-42
UC users only
"The 1986 action-comedy Peking Opera Blues is perhaps the best-known film of Tsui Hark, the most famous and prolific of Hong Kong's post-1979 New Wave filmmakers. The film is set in China in 1913, two years after the Republican revolution that toppled the Last Emperor, while the country was being fought over by two warlords. The story focuses on the attempt of a group of young guerrilla fighters to overthrow the generals and establish democratic rule. Despite the fact that the film was not picked up by a major American film distributor after its New York release in 1987, many of the critics who saw it predicted that its accelerated narrative pace, brilliantly choreographed fight scenes, and irresistible star performances could make it a hit in the West. It may still get its due, both because it is a cornerstone of the Hong Kong New Wave cinema and because Hong Kong itself will gain more international attention as the date of its return to Chinese sovereignty approaches." [Art Index]

Teo, Stephen.
"Tsui Hark: Filmography." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 17:(no pagination). 2001 Nov-Dec.

Teo, Stephen.
"Starting Over: Tsui Hark's Time and Tide (2000)." Senses of Cinema: an Online Film Journal Devoted to the Serious & Eclectic Discussion of Cinema. 17:(no pagination). 2001 Nov-Dec.

Teo, Stephen.
"Tsui Hark: National Style and Polemic." In: At full speed: Hong Kong cinema in a borderless world. Esther C.M. Yau, editor. pp: 143-58. Minneapolis: University of Minnesota Press, c2001.
UCB East Asia PN1993.5.C4 A184 2001
UCB Main PN1993.5.C4 A184 2001

Tsui, Hark
"Retour d'exil." Cahiers du Cinéma special issue 1999. p. 32-5
Part of a special section on filmmaking in Hong Kong. Tsui Hark, director of the legendary film Zu, les guerriers de la montaigne magique and the mythical The Blade, has returned to Hong Kong after failing to impose his style in Hollywood. In an interview, he discusses several topics, including his motivation for returning to Hong Kong, his experience working in Hollywood, his feeling that the two films he made in Hollywood should have been a lot better, his plans to bring emotion and drama to his future films, and his future projects in Europe and Hong Kong." [Art Index]

Once Upon a Time In China

Denby, David
"Once upon a time in China." (review) New York May 25, 1992 v25 n21 p75(2)

Duffy, Michael
"Once upon a time in China." (review) Cineaste, New York; Fall 2001; Vol. 26, Iss. 4; pg. 96, 1 pgs
UC users only

Holden, Stephen
"Once upon a time in China." (review) The New York Times May 21, 1992 v141 pC16(L) col 5 (11 col in)

Holden, Stephen
"Once upon a time in China II." (review) The New York Times Sept 1, 1993 v142 pB5(N) pC13(L) col 1 (12 col in)

Hwang, Ange.
"The Irresistible: Hong Kong Movie Once Upon a Time in China Series: An Extensive Interview with Director/Producer Tsui Hark." Asian Cinema. 10(1):10-23. 1998 Fall.

Macnab, Geoffrey
"Once Upon a Time in China & Once Upon a Time in China II." Sight and Sound, Nov 2001; Vol. 11, Iss. 11; pg. 66

Williams, Tony
"Under western eyes: the personal odyssey of Huang Fei-hong in Once upon a time in China." Cinema Journal; Vol.XL nr.1 (Fall 2000); p.3-24
UC users only
Tsui Hark's Hong Kong film series "Wong Fei-hong" ("Once upon a time in China") deals with the questions of dispersion, China's relationship to the outside world, strategic forms of reintegration and national identity.

King Hu

Rodriguez, Hector
"Questions of Chinese aesthetics: film form and narrative space in the cinema of King Hu." Cinema Journal v 38 no1 Fall 1998. p. 73-97
UC users only
"The representation of "Chineseness" in King Hu's motion pictures is discussed. Based in Hong Kong and Taiwan, the director creates cinema that draws on themes and norms derived from Chinese painting, theater, and literature. Although literal citations of these genres abound in his movies, Hu does not always mechanically incorporate "traditional" images, beliefs, and conventions. Instead, he strives to realize similar functions and concerns by means of distinctly cinematic devices. Understanding the difference between past and present in social organization, technological capabilities, and practical matters, he offers a version of Chinese aesthetics that appropriates, elaborates, modifies, and filters the past through a contemporary confrontation with Western culture and an awareness of the possibilities and limitations of the cinematic medium." [Art Index]

Kaige Chen

"Chen Kaige and the shadows of the revolution." Sight & Sound v. ns4 (February 1994) p. 28-36
"The writer examines the cinematic career of Chinese director Chen Kaige. She describes how the films of Zhang Yimou, who was once Chen's cinematographer, have been far more successful in the West than Chen's more ponderous work. She points out, however, that the situation has changed with Chen's new film, Farewell My Concubine. She contends that although Chen's film is not autobiographical, it does contain undertones of his experience of the Cultural Revolution. She recounts the difficulties Chen had in getting the film made and the dilemma of being popular with a western audience. The writer concludes that, given the erratic character of Chinese cultural policy, some people predict that in the next ten years or so the best Chinese cinema is likely to find its home in the West." [Art Index]

Chen, Ming-May Jessie.
Representation of the cultural revolution in Chinese films by the Fifth Generation filmmakers : Zhang Yimou, Chen Kaige, and Tian Zhuangzhuang Lewiston, N.Y. : Edwin Mellen Press, c2007.
MAIN: PN1993.5.C4 C4286 2007;
Table of contents http://www.loc.gov/catdir/toc/ecip0711/2007005940.html

Cheshire, Godfrey
" The long way home: Chen Kaige's development as a Chinese filmmaker." Film Comment v. 28 (July/August 1992) p. 36-9
"Chinese filmmaker Chen Kaige is caught between cultures. People in China are not allowed to see his films, and in Beijing, the city where he grew up, his name is anything but a household word. In the West, however, he is taken seriously by European cinephiles and critics. He is currently directing Farewell to My Concubine, which is about a Beijing Opera star's 50-year unrequited passion for his male costar." [Art Index]

Havis, Richard James
"Changing the Face of Chinese Cinema: An Interview with Chen Kaige." Cineaste v. 29 no. 1 (Winter 2003) p. 8-11
UC users only
"An interview with Chinese filmmaker Chen Kaige. Chen is best known in the West for such grand, historical films as Farewell, My Concubine but his primary talent is for directing smaller scale films that encompass numerous layers of meaning. His latest film, Together, is a calculated attempt to appeal to the Chinese domestic market, a goal partly driven by his desire to help bring back Chinese audiences to domestic movies in the face of competition from foreign imports and other entertainment media. In the interview, Chen discusses his films and his career on the occasion of the U.S. release of Together." [Art Index]

Kaige, Chen
"Breaking the circle: The cinema and cultural change in China." Cineaste; 1990, Vol. 17 Issue 3, p28, 4p,
UC users only

Lu, Alvin
"Chen Kaige: portrait of the Chinese filmmaker." Film Comment v. 33 (September/October 1997) p. 72-7
"Although the conventional view holds that Chen Kaige became an "international director" with 1993's Farewell My Concubine, in truth he seems to have shifted the terms of his cinema rather than making it universal. Kaige's films are unsteady and fluctuating, and he compulsively works with dualisms, especially those that drift between the known and the unknown. His early films examine the borderlands of China, contrasting orthodoxy with the undefinable or the uncontainable. His later films are accessible and international only in that the shadow of the West throws traditional Chinese culture into the arena of the unknown. For Westerners, that represents reality; for many Chinese, it is a persistent crisis. The writer discusses Kaige's movies." [Art Index]

Zha, Jianying
"Chen Kaige and the shadows of the revolution." Sight & Sound; Feb94, Vol. 4 Issue 2, p28-36, 9p,

The Emperor and the Assassin (Jing Ke ci Qin Wang)

Zhiwei Xiao.
"The Emperor and the Assassin." The American Historical Review. Washington: Apr 2001. Vol. 106, Iss. 2; p. 694
UC users only

Farewell My Concubine

Alleva, Richard.
"Farewell My Concubine." (movie reviews) Commonweal v120, n21 (Dec 3, 1993):15 (3 pages).

Ansen, David.
"Farewell My Concubine." (movie reviews) Newsweek v122, n18 (Nov 1, 1993):74.

Berry, Chris and Mary Ann Farquhar.
""Farewell My Concubine: At What Price Success?" Cinemaya 20 (1993): 20-22.

Canby, Vincent.
"Farewell My Concubine." (movie reviews) New York Times v143 (Fri, Oct 8, 1993):B1(N), C22(L), col 1, 29 col in.

Chen, Pauline.
"Farewell My Concubine." (movie reviews) Film Comment v30, n2 (March-April, 1994): 85 (3 pages).
"Chen Kaige's Farewell My Concubine clothes the fresh bitterness of China's recent struggles in the dimmer tragedy of its ancient history. The period that the film depicts, from the warlord era of the Twenties to the Cultural Revolution's aftermath in the Seventies, is a source of confusion and regret for the Chinese people. During this period, China's traditional heritage was attacked by both Western trade incursions and philosophy and the Cultural Revolution. By its rich and nuanced use of history and tradition, Farewell My Concubine reminds Chinese audiences that China's present has much to learn from its past." [Art Index]

Cheshire, Godfrey.
"The long way home." (Chinese film directors Chen Kaige and Zhang Yimou) Film Comment v28, n4 (July-August, 1992):36 (4 pages).
Chen and Yimou make critically acclaimed films that the Chinese government will not permit to be shown on mainland China. Zhang directed 'Raise the Red Lantern' and 'Ju Dou.' Chen's latest film is 'Farewell to my Concubine.'

Chong, Woei Lien,
"Chen Kaige's 'Farewell to My Concubine': Some Personal Musings." China Information (Supplement) 9, 1 (Summer 1994): 41-47

Corliss, Richard.
"Farewell My Concubine." (movie reviews) Time v142, n14 (Oct 4, 1993):85.

Crisp, Quentin.
"Farewell My Concubine." (movie reviews) Christopher Street, n208 (Dec, 1993):6 (2 pages).

Denby, David.
"Farewell My Concubine." (movie reviews) New York v26, n42 (Oct 25, 1993):84 (2 pages).

Grenier, Richard.
"Farewell My Concubine." (movie reviews) Commentary v97, n5 (May, 1994):51.

Hong, Lanxing.
"Farewell My Concubine." (movie reviews) Beijing Review 36, 26 (June 28, 1993): 29

Johnson, Brian D.
"Farewell My Concubine." (movie reviews) Maclean's v106, n46 (Nov 15, 1993):92A.

Kaplan, Ann.
"Reading Formations and Chen Kaige's Farewell My Concubine." In: Transnational Chinese cinemas: identity, nationhood, gender / edited by Sheldon Hsiao-peng Lu. Honolulu, HI: University of Hawaii Press, 1997.
Chinese Stdy PN1993.5.C4.T65 1997
Main Stack PN1993.5.C4.T65 1997
Asian Amer PN1993.5.C4.T65 1997

Kristoff, Nicholas D.
"Beijing Bans Chinese Film That Won Cannes Prize." ("Farewell to My Concubine") (Living Arts Pages) New York Times v142 (Wed, August 4, 1993):B1(N), C13(L), col 4, 15 col in.

Kwok Wah Lau, Jenny.
"Farewell My Concubine: History, Melodrama, and Ideology in Contemporary Pan-Chinese Cinema." Film Quarterly. 49(1):16-27. 1995 Fall
"Chinese director Chen Kaige's 'Farewell My Concubine' is examined in the context of the growing Chinese, Taiwanese and Hong Kong international film markets. Hong Kong has become increasingly a source of financing for Chinese filmmakers like Chen and Zhang Yimou who are proscribed by the Chinese government." [Expanded Academic Index]

Larson, Wendy.
"The Concubine and the Figure of History: Chen Kaige's Farewell My Concubine." In: Transnational Chinese cinemas: identity, nationhood, gender / edited by Sheldon Hsiao-peng Lu. Honolulu, HI: University of Hawaii Press, 1997.
Chinese Stdy PN1993.5.C4.T65 1997
Main Stack PN1993.5.C4.T65 1997
Asian Amer PN1993.5.C4.T65 1997
Also in Celluloid China: Cinematic Encounters with Culture and Society.
Main Stack PN1995.K86 2002

Lau, Jenny Kwok Wah.
"'Farewell My Concubine': History, Melodrama, and Ideology in Contemporary Pan-Chinese Cinema." Film Quarterly v49, n1 (Fall, 1995):16 (12 pages).
UC users only
"Farewell My Concubine is being hailed as Chinese director Chen Kaige's masterpiece, and it may well be the decisive film of his career, but for reasons that are beyond artistic considerations. To assess Chen's work thus far, it is important to situate Concubine in the larger context of several important film movements taking place within contemporary Pan-Chinese cinema. The writer discusses these movements, particularly the debate over film theory and practice that took place in Mainland China during the eighties, the commercialization of the Mainland Chinese cinema that ran parallel to that debate, the commercial takeover of the Mainland and Taiwan screens by Hong Kong cinema during the period, and the Hong Kong-Taiwan commercial alliance that capitalized on exporting Chinese "art" cinema in the nineties. She argues that the reading of Concubine necessitates a consideration of both Western and Chinese conventions of symbolic production and interpretation." [Art Index]

Lau, Jenny Kwok Wah.
"Farewell my concubine." (motion picture review) Film Quarterly v 49 Fall 1995. p. 17-27
"Farewell My Concubine is being hailed as Chinese director Chen Kaige's masterpiece, and it may well be the decisive film of his career, but for reasons that are beyond artistic considerations. To assess Chen's work thus far, it is important to situate Concubine in the larger context of several important film movements taking place within contemporary Pan-Chinese cinema. The writer discusses these movements, particularly the debate over film theory and practice that took place in Mainland China during the eighties, the commercialization of the Mainland Chinese cinema that ran parallel to that debate, the commercial takeover of the Mainland and Taiwan screens by Hong Kong cinema during the period, and the Hong Kong-Taiwan commercial alliance that capitalized on exporting Chinese "art" cinema in the nineties. She argues that the reading of Concubine necessitates a consideration of both Western and Chinese conventions of symbolic production and interpretation." [Art Index]

Lim, Song Hwee
"The uses of femininity: Chen Kaige's Farewell my concubine and Zhang Yuan's East palace, west palace." In: Celluloid comrades : representations of male homosexuality in contemporary Chinese cinemas / Song Hwee Lim. Honolulu : University of Hawai'i Press, 2006.
Main Stack PN1995.9.H55.L56 2006

Lu, Sheldon H.
"Gendered Perspective The Construction and Representation of Subjectivity and Sexuality in Ju Dou." In: Transnational Chinese cinemas : identity, nationhood, gender / edited by Sheldon Hsiao-peng Lu. Honolulu, HI : University of Hawaii Press, 1997.
Full-text available online (UC Berkeley users only)
Asian American Studies PN1993.5.C4 T65 1997
East Asian PN1993.5.C4 T65 1997
Main (Gardner) Stacks PN1993.5.C4 T65 1997

Magny, Joel
"Adieu ma concubine." Cahiers du Cinema no. 473 (November 1993) p. 60-1

Metzger, Sean.
"Farewell My Fantasy." Journal of Homosexuality. 39(3-4):213-32. 2000
UC users only
Author's Abstract: COPYRIGHT 2000 Haworth Press, Inc. "In this essay, I seek to place Chen Kaige's Farewell My Concubine not solely within the Chinese matrix of its production but within the transnational matrix of its distribution and viewing; indeed, the film may well have been intended for international audiences, to which the film's numerous awards testify. Yet China, too, has been fascinated with Western ideas, with Freud one particular example. So here I use a Freudian interpretation of the film's rationalization of homosexuality in terms of beating and childhood sexuality, a rationalization that diverges from the Lilian Lee novel on which the film is based." [Article copies available for a fee from The Haworth Document Delivery Service: 1-800-342-9678. E-mail address: Website: ]

Pearson, Harry
"Farewell My Concubine." (movie reviews) Films in Review v. 45 (January/February 1994) p. 51-2
A review of Chen Kaige's film Farewell My Concubine. This beautifully directed movie is essentially a love story that attempts to show the impact of the upheavals of Chinese history over this century on the inner lives of three individuals and on their mutual relationships.

Rafferty, Terrence.
"Farewell My Concubine." (movie reviews) New Yorker v69, n33 (Oct 11, 1993):121 (3 pages).

Rayns, Rony.
"Ba Wang Bie Ji" (Farewell My Concubine). (movie reviews) Sight and Sound v4, n1 (Jan, 1994):41 (2 pages).
"Farewell My Concubine (Ba Wang Bie Ji), directed by Cheng Kaige, spans five decades in the lives of two actors in the Peking Opera Academy. The emphasis on the poverty and on physical and emotional pain precludes any romanticizing of China's "old society." The nightmare of war and the Japanese occupation are less emphasized than the indifference of art to politics. In a strong and brave account, the film views China's decades under Communist leadership as a rising tide of lies, hypocrisies, and betrayals." [Art Index]

Rayns, Tony
"Farewell to my concubine." Sight & Sound v. ns2 (December 1992) p. 10-13

Romney, Jonathan.
"Farewell My Concubine." (movie reviews) New Statesman & Society v7, n284 (Jan 7, 1994):33 (2 pages).

Salamon, Julie.
"Farewell My Concubine." (movie reviews) Wall Street Journal (Thu, Oct 21, 1993):A14(W), A16(E), col 1, 17 col in.

Seligman, Craig.
"Farewell My Concubine." (movie reviews) Advocate, n642 (Nov 16, 1993):87.

Simon, John.
"Farewell My Concubine." (movie reviews) National Review v45, n22 (Nov 15, 1993):61 (2 pages).

Travers, Peter.
"Sexual Butterflies." (motion pictures 'M. Butterfly' and 'Farewell My Concubine' compared) Rolling Stone, n668 (Oct 28, 1993):86.

Xu, Ben.
"'Farewell My Concubine' and its nativist critics." Quarterly Review of Film and Video 16.n2 (Sept 1997): 155(16).
"Issues of criticism are discussed in relation to Chen Kaige's movie Farewell My Concubine. Following an overview of current criticism of the movie, the writer focuses on nativist criticism, which seeks to interpret the movie by showing that it exposes an asymmetrical power relationship between the First and Third Worlds. He points out that this kind of approach criticizes the movie ideologically and treats it as doomed to ideological closure. He goes on to examine the social criticism implied by the movie as a serious effort of cultural self-reflection, arguing for its artistic sophistication and positive political meanings. He emphasizes that the movie deserves the world's appreciation due to the peculiar way in which it has forcefully raised issues that are quintessential to our understanding of ourselves regardless of racial and national differences." [Art Index]

Zhang, Benzi.
"Figures of Violence and Tropes of Homophobia: Reading Farewell My Concubine between East and West." Journal of Popular Culture. 33(2):101-109. 1999 Fall
" 'Farewell My Concubine,' the motion picture of Chen Kaige, released in 1993, indicates the level of dislike of homosexuals in China and the related cultural violence. It is the tale of two opera stars from Peking, who have been friends from childhood. One, Chen Dieyi, is trained to play a female role, which spills into his own life, and his feelings for his friend, Duan Xiaolou, are not reciprocated. After years and years of misery, Dieyi commits suicide in front of Xiaolu. Within the tale are scenes showing the discrimination against women and effeminate men." [Expanded Academic Index]

Zhiwei Xiao.
"Farewell My Concubine." (movie reviews) American Historical Review v100, n4 (Oct, 1995):1212 (3 pages).

Temptress Moon

Thompson, Andrew O.
"Shanghai charade: filming Temptress moon." American Cinematographer v. 78 (April 1997) p. 48-50+
"The filmmaking history of director Chen Kaige and cinematographer Christopher Doyle is discussed. Kaige and Doyle worked together on Temptress Moon, a period tale set in 1920s China about a bizarre love triangle. This Mandarin language film concerns a trio of characters who are troubled by societal changes that occur when the Chinese era of dynastic dominion gives way to the rule of a republic. Chen's previous pictures include Farewell My Concubine (1993), The Yellow Earth (1984), The Big Parade (1986), and Life on A String (1991). Doyle's work includes That Day on the Beach (1983), Noir et Blanc (1986), Soul, Days of Being Wild, Ashes of Time, Chungking Express, Fallen Angels, Buenos Aires Affair, and Red Rose, White Rose and numerous music videos." [Art Index]

The Yellow Earth

Donald, Stephanie.
"Landscape and Agency: Yellow Earth and the Demon Lover." Theory, Culture and Society 14, 1 (1997): 97-112.

Li, H.C.
"Color, Character, and Culture: On Yellow Earth, Black Canon Incident, and Red Sorghum." Modern Chinese Literature 5.1 (Spring 1989):91-119.

Tian Zhuangzhuang

Chen, Ming-May Jessie.
Representation of the cultural revolution in Chinese films by the Fifth Generation filmmakers : Zhang Yimou, Chen Kaige, and Tian Zhuangzhuang Lewiston, N.Y. : Edwin Mellen Press, c2007.
MAIN: PN1993.5.C4 C4286 2007;
Table of contents http://www.loc.gov/catdir/toc/ecip0711/2007005940.html

"Listening to Tian Zhuangzhuang's year-end comments on cinema." (Hollywood Films and Chinese Domestic Films in China, Part 2)(Interview) Chinese Sociology & Anthropology Winter 1999 v32 i2 p96(4)
Chinese filmmaker Tian Zhuangzhuang feels the success of any motion picture depends on how closely it reflects the spirit of the times. Directors should offer facts in film while leaving room for audiences to use their imaginations.

Lopate, Phillip
"Odd Man Out." (Interview). Film Comment XXX/4, July-Aug 94; p.60-64.
The filmmaker discusses his life and career, commenting on the personal and political aspects of "Lan fengzheng" and on the filmmakers who influenced his work.

Blue Kite

Ban, Wang.
"Trauma and History in Chinese Film: Reading The Blue Kite against Melodrama." Modern Chinese Literature & Culture. 11(1):125-55. 1999 Spring

Canby, Vincent.
"The Blue Kite:In China, the personal is political." (movie reviews) New York Times Oct 2, 1993 v143 p13(N) p16(L) col 5 (10 col in); v143 (Sat, Oct 2, 1993):13(N), 16(L), col 5, 10 col in.

Clements, Marcelle.
"'The Blue Kite' Sails Beyond the Censors." (film by Chinese director Tian Zhuangzhuang is shown internationally without the approval of China's Central Film Bureau) New York Times v143, sec2 (Sun, April 3, 1994):H13(N), H13(L), col 4, 31 col in.

Corliss, Richard
"The Blue Kite." (movie reviews) Time May 2, 1994 v143 n18 p75(1)

"The East-is-red blues - The Blue Kite directed by Tian Zhuan." The Village Voice. Apr 12, 1994. Vol. 39, Iss. 15; p. 51 (1 page)

Gach, Gary.
"The Blue Kite: Coming Of Age In New China: Remembrance Of Quiet Dignities And Unspoken Indignities Past." Asianweek. Apr 1, 1994. Vol. 15, Iss. 36; p. 22
UC users only

Kemp, Philip.
"The Blue Kite." (movie reviews) Sight and Sound v4, n2 (Feb, 1994):55.

Klawans, Stuart.
"The Blue Kite." (movie reviews) Nation v258, n17 (May 2, 1994):604 (4 pages).

Lane, Anthony.
"The Blue Kite." (movie reviews) New Yorker v70, n11 (May 2, 1994):106 (3 pages).

Lopate, Phillip
"Odd Man Out." (Interview). Film Comment XXX/4, July-Aug 94; p.60-64.
The filmmaker discusses his life and career, commenting on the personal and political aspects of "Lan fengzheng" and on the filmmakers who influenced his work.

Powers, John
"The Blue Kite." (movie reviews) New York April 11, 1994 v27 n15 p57(1)

Sklar, Robert
"People and Politics, Simple and Direct." (Interview). Cineaste XX/4, 94; p.36-38.
Chinese director Tian Zhuangzhuang, recently banned from filmmaking in China, discusses his career, with emphasis on "Lan fengzheng" and "Daoma zei".

Sterritt, David.
"'The Blue Kite' Won't Fly in Red China." (Tian Zhuangshuang's movie criticizes government; includes related article) Christian Science Monitor v86, n68 (Thu, March 3, 1994):10, col 2, 34 col in.

Vidal-Hall, Judith.
"History ... Homage ... Memory." (interview with film director Tian Zhuangzhuang about his film 'The Blue Kite')(Interview) Index on Censorship v24, n6 (Nov-Dec, 1995):80 (2 pages).
" Tian Zhuangzhuang describes the movie 'The Blue Kite' as a tribute to his parents' generation. The movie is based on the memories and experiences of the generation that lived through the Revolution in China. 'The Blue Kite' is made for the new generation so that they could learn from the past experience and also for those who suffered. The movie was completed with Dutch collaboration. The problems faced by Tian during the making of the movie are discussed." [Magazine Index]

Zhiwei Xiao.
"The Blue Kite." (movie reviews) American Historical Review v100, n4 (Oct, 1995):1212 (3 pages).

Xiao, Zhiwei.
Asia -- The Wooden Man's Bride directed by Huang Jianxin / Farewell My Concubine directed by Chen Kaige / The Blue Kite directed by Tian Zhuangzhuang / To Live directed by Zhang Yimou The American Historical Review. Oct 1995. Vol. 100, Iss. 4; p. 1212
UC users only

Xudong Zhang.
"National trauma, global allegory: Reconstruction of collective memory in Tian Zhuangzhuang's The Blue Kite." Journal of Contemporary China. Nov 2003. Vol. 12, Iss. 37; p. 623
UC users only

Tsai Ming-liang

Bachner, Andrea
"Cinema as Heterochronos: Temporal Folds in the Work of Tsai Ming-liang." Modern Chinese Literature and Culture, vol. 19, no. 1, pp. 60-90, Spring 2007

Bao, Weihong
"Biomechanics of Love: Reinventing the Avant-Garde in Tsai Ming-liang's Wayward 'Pornographic Musical'." Journal of Chinese Cinemas, vol. 1, no. 2, pp. 139-160, 2007
UC users only

Bloom, Michelle E.
"Contemporary Franco-Chinese Cinema: Translation, Citation and Imitation in Dai Sijie's Balzac and the Little Chinese Seamstress and Tsai Ming-Liang's What Time Is It There?" Quarterly Review of Film and Video, vol. 22, no. 4, pp. 311-25, Oct 2005
UC users only

Chow, Lesley
"What Time Now? Catching Up Hours in Tsai Ming-liang." Bright Lights Film Journal, vol. 54, pp. (no pagination), Nov 2006

Clarke, Roger
"The Incomplete Tsai Ming-Liang." Sight and Sound, vol. 17, no. 12, pp. 24-26, Dec 2007
UC users only

Harris, Laurel
"Ruptured Space and Temporal Escape: Tsai Ming-liang's Millennial Film Musical The Hole." Excavatio: Emile Zola and Naturalism, vol. 22, no. 1-2, pp. 187-95, 2007

Koc, Aysegul.
"Of human bonding: an interview with Tsai Ming-Liang." CineAction - Wntr 2007 i71 p48(4)
UC users only

Kraicer, Shelly.
"Interview with Tsai Ming-liang." positions, Fall2000, Vol. 8 Issue 2, p579, 10p
UC users only

Lee, Vivian
"Pornography, Musical, Drag, and the Art Film: Performing 'Queer' in Tsai Ming-liang's The Wayward Cloud." Journal of Chinese Cinemas, vol. 1, no. 2, pp. 117-137, 2007
UC users only

Lim, Song Hwee
"Positioning Auteur Theory in Chinese Cinemas Studies: Intratextuality, Intertextuality and Paratextuality in the Films of Tsai Ming-liang." Journal of Chinese Cinemas, vol. 1, no. 3, pp. 223-245, 2007
UC users only

Martin, Fran.
"Introduction: Tsai Ming-liang's intimate public worlds." Journal of Chinese Cinemas, 2007, Vol. 1 Issue 2, p83-88, 6p
UC users only

Neri, Corrado.
"Tsai Ming-liang and the Lost Emotions of the Flesh." positions: east asia cultures critique, vol. 16, no. 2, pp. 389-407, Fall 2008
UC users only

Niskanen, Eija
"Tsai Ming-liang Delves into Japanese AC-Culture." Film International, vol. 4, no. 1 [19], pp. 70-73, 2006

Rapfogel, Jared
"Taiwan's Poet of Solitude: An Interview with Tsai Ming-liang." Cineaste, vol. 29, no. 4, pp. 26-29, Fall 2004
UC users only

Stephens, Chuck.
"Intersection: Tsai Ming-liang's yearning bike boys and heartsick heroines." Film Comment; Sep/Oct96, Vol. 32 Issue 5, p20, 4p

Toh Hai Leong.
"The Taiwanese Antonioni: Tsai Ming-liang's Displacement of Love In an Urban Environment." Kinema, Spring97 Issue 7, p47-52, 6p

Wang, Shujen; Fujiwara, Chris
"'My Films Reflect My Living Situation': An Interview with Tsai Ming-liang on Film Spaces, Audiences, and Distribution." positions: east asia cultures critique, vol. 14, no. 1, pp. 219-41, Spring 2006
UC users only

Goodbye, Dragon Inn

Biro, Yvette
"Perhaps the Flood." PAJ: A Journal of Performance & Art; Sep2004, Vol. 26 Issue 78, p78-86, 9p
UC users only

Chan, Kenneth.
"Goodbye, Dragon Inn: Tsai Ming-liang's Political Aesthetics of Nostalgia, Place, and Lingering." Journal of Chinese Cinemas, vol. 1, no. 2, pp. 89-103, 2007
UC users only

De Villiers, Nicholas.
"Leaving the cinema: metacinematic cruising in Tsai Ming-liang's Goodbye, Dragon Inn." Jump Cut: A Review of Contemporary Media, Spring2008, Issue 50, p4-4, 1p

Wood, Chris
"Realism, Intertextuality and Humour in Tsai Ming-liang's Goodbye, Dragon Inn." Journal of Chinese Cinemas, vol. 1, no. 2, pp. 105-116, 2007
UC users only

The Hole

Hsu, Jen-yi
"Re-Enchanting the Everyday Banal in the Age of Globalization: Alienation, Desire, and Critique of Capitalist Temporality in Tsai Ming-Liang's The Hole and What Time Is It There?" NTU Studies in Language and Literature, vol. 17, pp. 133-157, June 2007

Kai-man Chang.
"Gender Hierarchy and Environmental Crisis in Tsai Ming-liang's The Hole." Film Criticism, Fall2008, Vol. 33 Issue 1, p25-44, 20p
UC users only

Nadua Trice, Jasmine.
"Diseased Bodies and Domestic Space: Transmodern Space in Tsai Ming-Liang's The Hole." Asian Cinema, vol. 16, no. 2, pp. 255-67, Fall 2005

The River

Chang, Kai-Man.
"Drifing Bodies and Flooded Spaces: Visualizing the Invisibility Of Heteronormativity in Tsai Ming-Liang's The River." Post Script, Fall2008, Vol. 28 Issue 1, p45-62, 19p
UC users only

Chow, Rey.
"A Pain in the Neck, a Scence of "Incest," and Other Enigmas of an Allegorical Cinema: Tsai Ming-liang's "The River."" CR: The New Centennial Review, Spring2004, Vol. 4 Issue 1, p123-142, 20p
UC users only

The Wayward Cloud

Johnston, Ian.
"How Sweet to Be a Cloud? Fancy and Fucking Collide in Tsai-Ming Liang's Latest." Bright Lights Film Journal, Nov2005, Issue 50, p183-189, 7p
UC users only

What Time Is It?

Bloom, Michelle E.
"Contemporary Franco-Chinese Cinema: Translation, Citation and Imitation in Dai Sijie's Balzac and the Little Chinese Seamstress and Tsai Ming-Liang's What Time Is It There?" Quarterly Review of Film and Video, vol. 22, no. 4, pp. 311-25, Oct 2005
UC users only

Chow, Lesley.
"What Time Now? Catching Up Hours in Tsai Ming-liang." Bright Lights Film Journal, vol. 54, pp. (no pagination), Nov 2006

Wong Kar-Wai

Abbas, Ackbar.
"Wong Kar-wai: Hong Kong Filmmaker." In: Hong Kong: culture and the politics of disappearance / Ackbar Abbas. pp: 16-62. Minneapolis: University of Minnesota Press, 1997. Public worlds; v. 2
Full text available online (UCB users only)
ANTH: DS796.H75 A34 1997
MAIN: DS796.H75 A34 1997

Bear, Liza
"Wong Kar-wai." (film director)(Interview) Bomb Spring 2001 i75 p48(5)
"Filmmaker Wong Kar-wai discusses his work on the film "In the Mood for Love," which concerns two neighbors in Hong Kong during the 1960s, a man and a woman, whose spouses are having affairs. Topics include the manner in which secrets are treated, Kar-wai's family background, the production and artistic concerns of the movie, and the state of Asian cinema at the beginning of the 21st century." [Expanded Academic Index]

Bettinson, Gary
"Reflections on a Screen Narcissist: Leslie Cheung's Star Persona in the Films of Wong Kar-wai." Asian Cinema, vol. 16, no. 1, pp. 220-38, Spring 2005

Botz-Borntstein, Thorsten.
"Wong Kar-wai's Films and the Culture of the Kawaii." Substance: A Review of Theory & Literary Criticism, 2008, Vol. 37 Issue 2, p94-109, 16p
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"The article discusses a critique of Wong Kar-wai's films and its relation to the kawaii culture. The entry notes that critics have examined Wong's films beginning with his emergence from the cinema scene in Hong Kong, China, and his compatibility with Western cinema. It cites that the themes of a youth culture engaged in consumption and cuteness are implicitly expressed in Wong's films. Also examined is the contemporary Pan-Asian culture present in Wong's films that is characterized by a feeling of anxiety that cannot be objectified." [Ebsco]

Brunette, Peter.
Wong Kar-wai Urbana : University of Illinois Press, c2005.
MAIN: PN1998.3.W65 B78 2005
Table of contents http://www.loc.gov/catdir/toc/ecip0422/2004020467.html

Cameron, Allan.
"Trajectories of identification: travel and global culture in the films of Wong Kar-wai." Jump Cut: A Review of Contemporary Media, Spring2007, Issue 49, p1-1, 1p

Cassegard, Carl.
"Ghosts, Angels and Repetition in the Films of Wong Kar-wai." Film International, 2005, Vol. 3 Issue 16, p10-23, 14p
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Chong, Ethel.
"In the Mood for Love: Urban Alienation in Wong Kar Wai's Films." Kinema, Spring2003, Issue 19, p27-38, 12p

Chow, Rey.
"Sentimental Returns: On the Uses of the Everyday in the Recent Films of Zhang Yimou and Wong Kar-Wai." New Literary History. 33(4):639-54. 2002 Autumn
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The article examines the portrayal of daily life in Chinese cinema, focusing on the works of filmmakers Wong Kar-wai and Zhang Yimou and themes of family, tradition, and emotion. Discussion focuses on the preservation of the utopic as a means of redemption from the mundane pragmatism of living.

de Carvalho, Ludmila Moreira Macedo.
"Memories of sound and light1: musical discourse in the films of Wong Kar-wai." Journal of Chinese Cinemas, 2008, Vol. 2 Issue 3, p197-210, 14p
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Durafour, Jean-Michel
"WKW: A Cinema of the Exappropriation." Asian Cinema, vol. 16, no. 2, pp. 268-76, Fall 2005

Frodon, Jean-Michel; Guinot, Pascale, tr
""Filmer l'Histoire pour l'enlever des mains des politiciens: Interview with Hsiao-hsien Hou." Cahiers du Cinema no. 606 (November 2005) p. 27
An interview with Taiwanese filmmaker Hou Hsiao-Hsien. Subjects addressed include why he structured his latest film, Three Times, into three different episodes; the historical dimension of his work; and his recent political activities.

Gan, Wendy
"Surviving Desire: Rewriting the Romance in the Films of Wong Kar Wai." SPAN: Journal of the South Pacific Association for Commonwealth Literature and Language Studies, vol. 50, pp. 83-98, Spring 2000.

Gargan, Edward A.
"Hong Kong's master of internal pyrotechnics." (filmmaker Wong Kar-wai) New York Times v147, sec2 (Sun, Oct 12, 1997):AR13(N), AR13(L), col 1, 44 col in.

Gross, Larry.
"Nonchalant Grace." (analyses of Wong Kar-Wai's films) Sight and Sound v6, n9 (Sept, 1996):6 (5 pages).
"A discussion of the films of director Wong Kar-Wai, focusing on his most recent one, Fallen Angels. His cinema is another contribution to the great modernist portraits of dislocation, fragmentation, and isolation. A list of what his films contain would read like an inventory of the culture and street life of contemporary Hong Kong. His deepest interest is in creating a mode of cinematic narration that is original. He also has a predilection for the accidental, the coincidental, and the abrupt intrusion of arbitrary events. The freshness of his films makes him difficult to locate in the pantheon of great filmmakers." [Art Index]

Havis, Richard J.
"Wong Kar-wai: One Entrance, Many Exits." Cinemaya (Oct/Dec 1997): 15-16.

Kraicer, Shelly
"Tracking the Elusive Wong Kar-wai." Cineaste v. 30 no. 4 (Fall 2005) p. 14-15
UCB users only
"Part of a special section on the work of film director Wong Kar-wai. A review of two books on Wong. Wong Kar-Wai, written by Peter Brunette, treats Wong's films as a prime example of advanced international art cinema. A lack of engagement with Chinese sources and Chinese culture pushes Brunette to develop the close readings that are the book's strength. He is least convincing when he attempts to tackle genre, offering a reading that, in a Hong Kong cinema context, is too narrow. Wong-Kar-wai, written by Stephen Teo is a brilliantly sustained, richly argued exploration of Wong's films that is impressive in both scope and depth. Teo succeeds in locating Wong's films against a complex local historical and cinematic background, while, simultaneously, opening each one to a provocatively literary interpretation that tries to locate its structure, language, and concerns in a field of world literature from the second half of the 20th century." [Art Index]

Leong, Toh Hai
"Wong Kar-wai: Time, Memory, Identity." Kinema Spring, 1995

Mazierska, Ewa; Rascaroli, Laura
"Trapped in the present: time in the films of Wong Kar-Wai." Film Criticism v 25 no2 Winter 2000/2001. p. 2-20
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"Wong Kar-Wai's films occupy a transitional space between a cinema that respects and takes for granted the idea of time as neatly divided between past, present, and future, and a cinema that only recognizes a never-ending present. As inhabitants of a "throw-away society" in which nothing is permanent, and everything is in the process of change, the characters in Wong's films engage in constant change that not only results in a neglect and instantaneous abolition of the past, but also a lack of respect for the future. Characters in Fallen Angels, As Tears Go By, and Days of Being Wild lose their lives unnecessarily, even though they could avoid their tragic fate by just taking more care. Wong seems to treat the postmodern desire to "live in the present" as a universal human affliction, but he also subtly promotes an opposing vision of life, which is based on the solid foundations of recognition and reconciliation with one's past. This is most apparent in Happy Together, in which one character achieves happiness and liberation by returning to Hong Kong and his family." [Art Index]

Nochimson, Martha P.
"Beautiful Resistance: The Early Films of Wong Kar-wai." Cineaste v. 30 no. 4 (Fall 2005) p. 9-13
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"Part of of a special section on the work of film director Wong Kar-wai. The writer discusses the early films of Wong. Wong's five early films cumulatively show him to be a poet of quotidian alienation as its lowest point. As Tears Go By reveals an embryonic artist on a quest for his subject. In Days of Being Wild, he approaches a distinctive identity as a director as he experiments with not only the beauty of the margins, but also a central metaphor that explores the border between its vibrant life and the cultural values that have dehumanized place. In Chungking Express, he moves past the traditional problems inherent in social hierarchy to the problems particular to a dehumanized, industrial society. Fallen Angels is a visual montage of uninhabitable spaces into which people are thrown, fall, or wander randomly. Happy Together deals with the explosive, ultimately impossible relationship of two gay men who have left Hong Kong to see it they can make their love succeed in another country. Each film stands on its own, but together they form a fictional universe that is greater than the sum of its parts." [Art Index]

Nochimson, Martha P.
"A Special Focus on Wong Kar-Wai: Beautiful Resistance: The Early Films of Wong Kar-wai" Cineaste: America's Leading Magazine on the Art and Politics of the Cinema, vol. 30, no. 4, p. 9-13, Fall 2005
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Payne, Robert M.
"Ways of seeing wild: the cinema of Wong Kar-Wai." Jump Cut no. 44, Fall 2001

Quandt, James
"A Certain Slant of Light: James Quandt on the films of Hou Hsiao-Hsien." Artforum International v. 44 no. 2 (October 2005) p. 248-54
"The writer discusses the films of Hou Hsiao-Hsien on the occasion of the release of his latest film, Three Times. Along with Edward Yang, Hou was a central figure in the Taiwanese New Cinema movement that emerged during the early 1980s. No other director in contemporary cinema has so insistently defined life as an accumulation of loss and injury, of broken or disappeared ideals and irretrievable loves. His most wrenching film is Good Men, Good Women, a tribute to brave patriot Chiang Bi-yu that assertively interweaves past and present, art and history to imply that contemporary life has lost its sense of purpose." [Art Index]

Siegel, Marc.
"The Intimate Spaces of Wong Kar-wai." In: At full speed: Hong Kong cinema in a borderless world / Esther C.M. Yau, editor. pp: 277-94. Minneapolis: University of Minnesota Press, c2001.
East Asian PN1993.5.C4.A184 2001
Main Stack PN1993.5.C4.A184 2001

Siegel, Marc.
"The Intimate Spaces of Wong Kar-wai." In: At full speed: Hong Kong cinema in a borderless world Esther C.M. Yau, editor. pp: 277-94. Minneapolis: University of Minnesota Press, c2001.
UCB East Asia PN1993.5.C4 A184 2001
UCB Main PN1993.5.C4 A184 2001

A Special Focus on Wong Kar-wai [Special section]. Cineaste v. 30 no. 4 (Fall 2005) p. 6-17
A special section on the work of film director Wong Kar-wai. Articles include a discussion of 2046, a film directed by Wong; five of Wong's early films; a review of two books on Wong; and an interview with actor Tony Leung Chiu Wai, who is most strongly identified internationally with the films of Wong.

Stephens, Chuck.
"Time pieces: Wong Kar-Wai and the persistence of memory." Film Comment v32, n1 (Jan-Feb, 1996):12 (7 pages).
"Wong Kar-Wai is Hong Kong's premier cinematic iconoclast, its most-parodied auteur, and its best-loved bad boy. Wong, who was born in Shanghai in 1958 and raised in Hong Kong on a diet of Russian literature and afternoon matinees, has established himself as an extraordinary visual stylist, a poet of memory and loss, and a master of voice-over reflection. He makes dizzying, delightful art films about the ways that people struggle with lingering remorse and crippling rejection and yet find ways to keep themselves happy while their worlds fall apart. His five films--As Tears Go By (also known as Mongkok Carmen) (1988), Days of Being Wild (1990), Ashes of Time (1994), Chungking Express (1994), and Fallen Angels (1995)--are discussed." [Art Index]

Strauss, Neil.
"Higher Style from Hong Kong's masters." (films from Hong Kong directors gain appeal in U.S.) New York Times v145, sec2 (Sun, Feb 18, 1996):H11(N), H11(L), col 1, 31 col in.

Teo, Stephen.
Wong Kar-WaiLondon : BFI Pub., 2005.
MAIN: PN1998.3.W65 T46 2005
PFA : PN1998.3.W59 T46 2005

Tsui, Curtis K.
"Subjective culture and history: the ethnographic cinema of Wong Kar-wai." Asian Cinema; 1995, Vol. 7 Issue 2, p93-124, 32p

Udden, James
"The Stubborn Persistence of the Local in Wong Kar-Wai." Post Script - Essays in Film and the Humanities 25:2 (Winter 2005-Spring 2006) p. 67-79
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Villella, Fiona A., compiler.
"The Cinema of Wong Kar-wai--A Writing Game." Senses of Cinema 13 (April-May 2001).

"Wong Kar-Wai - Charisma Express." Sight and Sound

Wong Kar-wai / Jean-Marc Lalanne ... [et al.]. Paris: Dis voir, [1997].
UCB Main PN1998.3.W65 W67 1997

"Wong Kar-Wai." (film director; producer; screnwriter)
Current Biography v59, n4 (April, 1998):58 (3 pages).

"Wong Kar-Wai."
In: Moviemakers' master class : private lessons from the world's foremost directors / Laurent Tirard. 1st ed. New York : Faber and Faber, 2002.
Main Stack PN1995.9.P7.T495 2002
Moffitt PN1995.9.P7.T495 2002

Wright, Elizabeth.
"Wong Kar-wai."Senses of Cinema--great directors, a critical database. Senses of Cinema (2001).

Yeh, Yueh-yu.
"A Life of Its Own: Musical Discourses in Wong Kar-Wai's Films." Post Script: Essays in Film and the Humanities. 19, 1 (Fall 1999).
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Yeh, Yueh-yu; Emilie; Wang Hu, Lake.
"Trascultural Sounds: Music, Identity, and the Cinema of Wong Kar-wai." Asian Cinema, Spring/Summer2008, Vol. 19 Issue 1, p32-46, 15p

2046

Aoun, Steven.
"2046.(Movie review)." Metro Magazine 146.147 (Wntr 2006): 205(2).

Arthur, P.
"Philosophy in the Bedroom: Wong Kar-wai's 2046." Cineaste v. 30 no. 4 (Fall 2005) p. 6-8
UCB users only
"Part of a special section on the work of film director Wong Kar-wai. The writer discusses 2046, a film directed by Wong. A sequel of sorts to In the Mood for Love, 2046 operates, unlike its marvelously compressed predecessor, in an expansive manner in several generic languages and through many moods, rhythms, perspectives, and time frames. On a hedonistic journey, the film's protagonist, Chow Mo-wan, glides through six relationships loaded with varying degrees of intimacy, responsibility, and lust. Though the film is anchored by the customary baggage of psychological characters, it is undoubtedly Wong's most "experimental" work. In general, Wong's films foster elastic, subjectivized, temporal frameworks, but this is the first one to simultaneously foreground and undermine linear measurement of clock time. As much as the film encourages viewers to find an overarching logic, to discover ways of making everything "fit," it also engages them in the sheer beauty and aesthetic uniqueness of the here-and-now image." [Art Index]

Cassegard, Carl.
"Ghosts, Angels and Repetition in the Films of Wong Kar-wai." Film International, 2005, Vol. 3 Issue 16, p10-23, 14p
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Ciment, Michel (ed. and introd.); Niogret, Hubert (ed. and introd.)
"2046 et Wong Kar-Wai." Positif: Revue Mensuelle de Cinema, vol. 525, pp. 88-109, November 2004

Ciment, Michel; Niogret, Hubert
"Comme fumer de l'opium: Entretien avec Wong Kar-wai." Positif: Revue Mensuelle de Cinema, vol. 525, pp. 90-94, November 2004

Frodon, Jean-Michel
"'Nous étions comme une troupe de cirque sur la route': Rencontre/Wong Kar-Wai." Cahiers du Cinéma, vol. 594, pp. 46, Fall 2004

Gilbey, Ryan
"2046." Sight & Sound v. ns15 no. 2 (February 2005) p. 74-5
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"This part-sequel to the director's In the Mood for Love(2000) is an oblique love story that unfolds in a hotel where time, memory, and identity are nebulous. The mysteries it presents rarely stem from anything more than determined obfuscation or a trick of the editor's art. Most damaging to the pacing are the excerpts about time-travelers visiting the year 2046--the effect being akin to trailers for another movie repeatedly and pointlessly interrupting In the Mood for Love." [Art Index]

Huang, Andrew
"In the Mood for Sci-Fi." Far Eastern Economic Review; 6/3/2004, Vol. 167 Issue 22, p52-53, 2p

Johnston, Ian
"Unhappy Together: Won Kar-Wai's 2046." Bright Lights Film Journal, vol. 47, pp. (no pagination), February 2005

Lee, Nathan
"Elusive Objects of Desire." Film Comment v. 41 no. 4 (July/August 2005) p. 30-2
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"Wong Kar Wai's film 2046 is a sequel of sorts to his earlier In the Mood for Love. Set in Hong Kong in the early 1960s, In the Mood for Love was the story of a deliciously sublimated romance between Chow Mo Wan and his inconceivably beautiful neighbor Su Li Zhen. Echoing with repetitions, synchronicities, somnambulistic swoons, dream states, meta-narratives, and various kinds of doubles, 2046 is a ghost story haunted by the absence of Su Li Zhen. All of the women of 2046 are, in one respect, facets of one woman, the woman that Su Li Zhen might or could have been. Furthermore, while In the Mood for Love slowed everything back down, narrowed the focus, and followed the character's concentration and rapt backward gaze, 2046 is hieratic, frieze-like, and neoclassical. As such, it is the summation of Wong's lyrical melancholia." [Art Index]

Taubin, Amy
"The Long Goodbye." Film Comment v. 41 no. 4 (July/August 2005) p. 26-9
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"A film by Wong Kar Wai, 2046 is a dark cautionary story of romantic obsession set in a labyrinthine hall of mirrors. The film is largely set in Hong Kong between 1966 and 1969. In it, after glimpsing 2046 on the door of a room rented by an ex-girlfriend, a certain Mr. Chow impulsively decides to move into the Oriental Hotel. The women who at different times occupy room 2046 become in various ways objects of his desire, and he projects fevered fantasies of them as androids into a piece of futuristic erotica, a pulp serial novel called 2046. The film--dense and sprawling, intoxicatingly erotic in its images, sounds, and rhythms--cannot be fully grasped in one viewing. The writer also discusses the film's production history and the fact that it is a sequel to In the Mood for Love." [Art Index]

Teo, Stephen
"2046: A Matter of Time, a Labour of Love." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 35, pp. (no pagination), Spring 2005

Udden, James.
"The stubborn persistence of the local in Wong Kar-Wai." Post Script 25.2 (Wntr-Spring 2006): p67(13). (7524 words)

Walters, Ben
"Hong Kong Dreaming: An interview with Christopher Doyle." Sight & Sound v. ns15 no. 4 (April 2005) p. 86
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"An an interview, cinematographer Christopher Doyle, who has worked with director Wong Kar-Wai since 1990, discusses his involvement in the making of Wong's anamorphically photographed movie 2046. He also comments on future projects with Wong Kar-Wai.." [Art Index]

Wilson, Flannery
"Viewing Sinophone Cinema through a French Theoretical Lens: Wong Kar-wai's In he Mood For Love and 2046 and Deleuze's Cinema." Modern Chinese Literature and Culture, vol. 21, no. 1, pp. 141-173, Spring 2009

Ashes of Time

Sinker, Mark
"Out of the Ashes: "Ashes of Time Redux"." Sight and Sound, vol. 18, no. 10, pp. 53, Oct 2008
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Ya-Chen Chen.
"As Simple as an Egg: Lessons about Love in Ashes of Time." Asian Cinema, Fall/Winter2006, Vol. 17 Issue 2, p84-102, 19p

Wong, Kar-Wai
"Salvage Operation: Director Wong Kar-Wai on Revisiting 'Ashes of Time'." Sight and Sound, vol. 18, no. 10, pp. 53, Oct 2008
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Zhou, Juanita Huan.
"Ashes of Time: The Tragedy and Salvation of the Chinese Intelligentsia." Asian Cinema 10(1):62-70.1998 Fall

Chungking Express

Cassegard, Carl.
"Ghosts, Angels and Repetition in the Films of Wong Kar-wai." Film International, 2005, Vol. 3 Issue 16, p10-23, 14p
UC users only

Cheng, Scarlet.
"'Chungking Express' on a fast track." Wall Street Journal (Thu, March 7, 1996):A18(W), A18(E), col 1, 21 col in.

Denby, David.
"Chungking Express." (movie reviews) New York v29, n12 (March 25, 1996):92 (2 pages).

Gan, Wendy,
"0.01cm: Affectivity and Urban Space in Chungking Express." Scope: An Online Journal of Film Studies, pp. (no pagination), November 2003.

Hampton, Howard.
"Blur as Genre." (Wong Kar-Wai's film 'Chungking Express') Artforum v34, n7 (March, 1996):90 (4 pages).
": Hong Kong director Wong Kar-Wai's film Chungking Express has a deadpan cosmopolitan energy that conflates successive New Waves. The lighthearted comedy presents life as a radiant blur and sketches two virtual love stories that almost but do not quite overlap. Wong's film is in fact an advertisement for itself, but its characters are so good at killing time that the viewer hardly notices that the film does not quite get around to delivering the goods it appears to promise." [Art Index]

Huang, Tsung-yi.
"Chungking Express: Walking with a Map of Desire in the Mirage of the Global City." Quarterly Review of Film & Video. 18(2):129-42. 2001 Apr
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Huang, Tsung-yi.
"Hong Kong Blue: Flaneurie with the Camera's Eye in a Phantasmagoric Global City." Jnt-Journal of Narrative Theory. 30(3):385-402. 2000 Fall

Klawans, Stuart.
"Chungking Express." (movie reviews) Nation v262, n9 (March 4, 1996):35 (2 pages).

Lalanne, Jean-Marc
"Chungking Express." (movie reviews) Cahiers du Cinéma no490 Apr 1995. p. 40-1
"A review of Wong Kar-wai's film Chunghunking Express (1994). The film is composed of two narratives that are at once autonomous and complementary. Starring Tony Leung and Valerie Chow, the film follows a handful of people whose paths cross at a fixed time and place--a district of Hong-Kong. The two narratives are loosely interlinked with a multiplicity of shared elements, recalling such films as Short Cuts or the Three Colors series of films." [Art Index]

Maslin, Janet.
"Chungking Express." (movie reviews) New York Times v144 (Mon, Sept 26, 1994):B3(N), C14(L), col 5, 12 col in.

Miller, Blair
"... Simply Because You're Near Me: Love, Chungking Express and In the Mood for Love." CineAction, vol. 62, pp. 58-66, 2003.

Rayns, Tony.
"Poet of Time." (Wong Kar-Wai, director of 'Chungking Express')(Interview) Sight and Sound v5, n9 (Sept, 1995):12 (3 pages).
"On the set of his latest film, Fallen Angel, director Wong Kar-Wai discusses his work. He addresses the issue of whether the writing or the "look" of a film is more important to him. On the subject of the "look" of his films, he reveals that this has been developed over the years with William Chang and the cinematographers. Among the other topics he treats are the use of voice-overs in Ashes of Time and Chungking Express, the connection between the latter and the novels of Haruki Murakami, and the spirit of Fallen Angel." [Art Index]

Rayns, Tony.
"Chungking Express." (movie reviews) (Chongqing Senlin). Sight and Sound v5, n9 (Sept, 1995):47 (2 pages).

Tong, Janice,
"Chungking Express: Time and Its Displacements." Chinese Films in Focus: 25 New Takes. Edited by Chris Berry. pp. 47-55. London, England: British Film Institute, viii, 216 pp.
Main Stack PN1993.5.C4.C463 2003

Wong, Kar-wai.
"Wong Kar-wai on Chungking Express." Sight and Sound (Sept. 1995): 14-16.

Days of Being Wild

James, Caryn.
"Days of Being Wild." (The Arts Pages) (movie reviews) New York Times v140 (Sat, March 23, 1991):12(N), 12(L), col 5, 9 col in.

Fallen Angels

Cassegard, Carl.
"Ghosts, Angels and Repetition in the Films of Wong Kar-wai." Film International, 2005, Vol. 3 Issue 16, p10-23, 14p
UC users only

Pettman, Dominic
"The floating life of fallen angels: unsettled communities and Hong Kong cinema." Postcolonial Studies; Apr2000, Vol. 3 Issue 1, p69-80, 12p
UC users only

Happy Together

Berry, Chris.
"Happy Alone? Sad Young Men in East Asian Gay Cinema." (Critical Essay) Journal of Homosexuality (June, 2000):187.
UC users only
Author Abstract: "This essay chooses as its texts three films representing contemporary gay male subjects from each of the "three" China's: HK, Taiwan, and the Mainland. Relocating the homoerotic image of the "sad young man," a trope popular from Hollywood rebellion films of the 1950s and 1960s, to contemporary China, I discuss how this masculine icon has been transformed from one of heroic rebellion to one of existential isolation. Indeed, as the politics of both the outmoded Confucian family and fractured Chinese nationhood intersect, what the sad young (gay) man rebels against is a political fluctuation which is no longer fixed; as the young man's opposition is no longer fixed, so too does he become alienated even from his own rebellious cause." [Article copies available for a fee from The Haworth Document Delivery Service: 1-800-342-9678. E-mail address: Website: <http://www.HaworthPress.com>] COPYRIGHT 2000 Haworth Press, Inc.

Chow, Rey
"Nostalgia of the New Wave: Structure in Wong Kar-wai's Happy Together." Camera Obscura 09-30-1999 N.42 p. 31
UC users only

Corliss, Richard.
"Happy Together/Chunguang Zhaxie." (Review) Time v150, n17 (Oct 27, 1997):1.

Greenhalgh, Cathy
"How Cinematography Creates Meaning in Happy Together." In: Style and meaning : studies in the detailed analysis of film / edited by John Gibbs and Douglas Pye. Manchester ; New York : Manchester University Press ; New York : Distributed exclusively in the USA by Palgrave, 2005.
Main Stack PN1995.S778 2005

Hok-sze Leung, Helen.
"Queerscapes in Contemporary Hong Kong Cinema." positions, Fall2002, Vol. 9 Issue 2, p423, 25p
UC users only

Holden, Stephen.
"Happy Together/Chunguang Zhaxie." (Review) New York Times v147 (Fri, Oct 10, 1997):B10(N), E10(L), col 1, 16 col in.

Lim, Song Hwee
"Travelling sexualities : Wong Kar-wai's Happy together." In: Celluloid comrades : representations of male homosexuality in contemporary Chinese cinemas / Song Hwee Lim. Honolulu : University of Hawai'i Press, 2006.
Main Stack PN1995.9.H55.L56 2006

O'Sullivan, Charlotte.
"Happy Together/Chunguang Zhaxie." (Review) Sight and Sound v8, n5 (May, 1998):49.

Stuart, Jan.
"Happy Together/Chunguang Zhaxie." (Review)Advocate, n746 (Nov 11, 1997):67 (2 pages).

Tambling, Jeremy.
Wong Kar-wai's Happy together Hong Kong : Hong Kong University Press ; [London : Eurospan] (distributor), c2003.
MAIN: PN1998.3.W65 T35 2003
PFA : PN1997.H366 T35 2003;

"To the end of the world." (production of film 'Happy Together' by Wong Kar-Wai) Sight and Sound v7, n5 (May, 1997):14 (4 pages).

Yue, Audrey.
"What's so queer about Happy Together? a.k.a. Queer (N) Asian: interface, community, belonging." Inter-Asia Cultural Studies, Aug2000, Vol. 1 Issue 2
UC users only

In the Mood for Love

Arthur, Paul
"In the Mood for Love." (Review) Cineaste Summer 2001 v26 i3 p40 (2024 words)
UC users only

Blake, Nancy.
""We Won't Be Like Them": Repetition Compulsion in Wong Kar-wai's In the Mood for Love." Communication Review, 2003, Vol. 6 Issue 4, p341-356, 16p
UC users only

Bowman, James
"In the Mood for Love." (Review) The American Spectator, April 2001 v34 i3 p85(1)

Cooper, Dennis
"In the Mood for Love." (Review) Artforum International Feb 2001 v39 i6 p41 (498 words)

Denby, David
"In the Mood for Love." (Review) The New Yorker Feb 5, 2001 v76 i45 p92(1)

Deppman, Hsiu-Chuang
"Liu Yichang and Wong Kar-wai The Class Trap in In the Mood for Love." In: Adapted for the screen: the cultural politics of modern Chinese fiction and film / Hsiu-Chuang Deppman. Honolulu, T.H. : University of Hawai'i Press, c2010.
Full-text available online (UC Berkeley users only)

Dumas, Raechel.
"A Look at Hong Kong's New Wave Sentimentality: Rey Chow's Reconceptualization of Nostalgia and the Allegorical Implications of the Image in Wong Kar-Wai's 'In the Mood for Love'" International Journal of the Humanities, Nov2007, Vol. 5 Issue 4, p135-139, 5p
UC users only

Jones, Kent
"Of love and the city." Film Comment, Jan/Feb 2001. Vol. 37, Iss. 1; pg. 22, 4 pgs

Khoo, Olivia
"Love in Ruins: Spectral Bodies in Wong Kar-wai's In the Mood for Love." In: Embodied modernities : corporeality, representation, and Chinese cultures / edited by Fran Martin an Honolulu : University of Hawai?i Press, c2006.
Anthropology GT497.C6 E43 2006
Main (Gardner) Stacks GT497.C6 E43 2006

"Make Mood, Not Love: Wong Kar-wai's romantic drama has enthralled and perplexed viewers. But nobody creates texture as well as Hong Kong's most distinctive director." (The Arts/Cinema)(Review) Time International Oct 16, 2000 v156 i15 p54+ (1021 words)

Martin, Adrian
"Perhaps." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 13, pp. (no pagination), Spring 2001.

Miller, Blair
"... Simply Because You're Near Me: Love, Chungking Express and In the Mood for Love." CineAction, vol. 62, pp. 58-66, 2003.

Mitchell, Elvis
"A desire soaked in pain, confusion and great need." (Review) The New York Times Feb 2, 2001 pB21(N) pE10(L) col 1 (15 col in)

Morice, Jacques
"In the Mode for Love." Beaux Arts Magazine no. 257 (November 2005) p. 30
UC users only
"The writer discusses two recent films by Hou Hsiao Hsien and Philippe Garrel. With Three Times, Hsien presents three loves stories set in three different eras: 1911, 1966, and the present. Garrel's Amants reguliers is a love story set in the context of the uprising of May 1968."

Sadashige, Jacqui
"In the Mood for Love." American Historical Review Oct 2001 v106 i4 p1513(2)

Taubin, Amy
"In the Mood for Love."Sight and Sound Nov 2000 v10 i11 p55(1)

Teo, Stephen
"Wong Kar-wai's In the Mood for Love: Like a Ritual in Transfigured Time." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 13, pp. (no pagination), Spring 2001.

Yue, Audrey
"In the Mood for Love: Intersections of Hong Kong Modernity." In: Chinese films in focus : 25 new takes
Edited by Chris Berry. pp. 128-36. London : BFI Publishing, 2003.
Main Stack PN1993.5.C4.C463 2003

Wilson, Flannery
"Viewing Sinophone Cinema through a French Theoretical Lens: Wong Kar-wai's In he Mood For Love and 2046 and Deleuze's Cinema." Modern Chinese Literature and Culture, vol. 21, no. 1, pp. 141-173, Spring 2009

John Woo

Chang, Terence
"Woo in interview." (director John Woo) (Interview) Sight and Sound May 1993 v3 n5 p25(1)

Dargis, Manohla.
"Do You Like John Woo?" Sight & Sound. 7(9):10-12. 1997 Sept.

Enns, Athony.
"The Spectacle of Disabled Masculinity in John Woo's "Heroic Bloodshed" Films." Quarterly Review of Film and Video v17, n2 (June, 2000):137 (9 pages).
The author examines issues of character masculinity and self-image in films by John Woo. Topics include portraying disabled people, social commentary, and narrative structure.

Gates, Philippa.
"The man's film: Woo and the pleasures of male Melodrama." (filmmaker John Woo)(Critical Essay) Journal of Popular Culture v35, n1 (Summer, 2001):59 (21 pages).
UC users only

Gin, Willie
"Woo, John." (film and television director) . Current Biography Feb 1999 v60 i2 p55(3)

Hall, Kenneth E.
John Woo: the films / by Kenneth E. Hall. Jefferson, N.C.: McFarland, c1999.
Main Stack PN1998.3.W655.H36 1999

Hanke, Robert.
"John Woo's Cinema of Hyperkinetic Violence: From A Better Tomorrow to Face/Off." (Critical Essay) Film Criticism v24, n1 (Fall, 1999):39.
UC users only
"Whereas Hong Kong filmmaker John Woo's first two Hollywood films reflect his assimilation into the generic conventions and formulas of the mainstream "American" action movie, Face/Off represents a generic transformation. Traditionally, action movies have defined hegemonic masculinity in relation to physical strength, decisiveness, invulnerability, and violence, separated from any emotion. Although Hard Target and Broken Arrow exemplify some Hong-Kongification of the Hollywood action movie, it was not until Face/Off that the density of Woo's hybrid aesthetic and his recoding of masculinity would be realized. Face/Off carries on with concerns evinced in his Hong Kong films--the vicissitudes and instability of the masculine subject--to bring to Hollywood action films a new kind of male protagonist. Linking violence to emotional intensity and visceral feeling, and to states of vulnerability and passivity, blurring the border between mind and body, rational and irrational, male and female, the film reinvents masculinity as a dialectic of violence and sensitivity." [Art Index]

Havis, Richard J.
"Hong Kong's John Woo Finally Does It His Way in Hollywood." Cinemaya (Winter/Spring 1998): 10-16.

Heard, Christopher.
Ten thousand bullets: the cinematic journey of John Woo / Christopher Heard. Los Angeles, CA: Lone Eagle Pub.: Distributed to the trade by National Book Network, c2000.
UCB Main PN1998.3.W655 H43 2000

Klein, Andy.
"John Woo: career of achievement." (Hong Kong director)(Spotlight: CineAsia) (trade show) Variety, Jan 29, 1996 v361 n12 p39(3). Bus. Coll.: 91Z4433.
"Famed action director John Woo will receive the Lifetime Achievement Award at the CineAsia show for being one of the leading figures in the history of Hong Kong cinema. Woo is now working in America and has just completed the action thriller 'Broken Arrow' starring John Travolta." [Expanded Academic Index]

Koven, Mikel J.
"My Brother, My Lover, My Self: Traditional Masculinity in the Hong Kong Action Cinema of John Woo." Canadian Folklore Canadien, 1997, 19:1, 55-68.

McDonagh, Maitland.
"Action painter: John Woo." Film Comment v 29 Sept/Oct 1993. p. 46-9
UC users only
"John Woo is the first foreign film director since Sergio Leone to be recognized as a legitimate heir to the traditions of an American genre. His gangster films let the audience feel intelligent and indulge in the mayhem simultaneously. His heroes are modern samurai, operating on their own code of honor. He has never made a film as tough as The Wild Bunch or Raging Bull, however, and likely never will. Woo's films are almost unbearably sentimental, and women tend to be depicted as symbols of goodness, a shelter from the storm." [Art Index]

McDonagh, Maitland.
"Things I Felt Were Being Lost: John Woo." (Interview) Film Comment v29, n5 (Sept-Oct, 1993):50 (2 pages).
UC users only
John Woo's first feature, 'The Young Dragons,' won critical acclaim and a studio contract despite the fact it was banned in Hong Kong because of violence. After making a few Kung Fu films and comedies, Woo made his first crime drama 'A Better Tomorrow,' and has continued in that genre ever since.

Reynaud, Berenice.
"John Woo's Art Action Movie." Sight and Sound vol. 3 no. 5. 1993 May. pp: 22-25.

Saada, Nicolas
"Who's Woo?" Cahiers du Cinema no516 Sept 1997. p. 22-3
"Hong Kong director John Woo's work in Hollywood is discussed. During his years working in Hong Kong, Woo's films became increasingly abstract, with a beauty that stems from excess, a breaking of the rules, and above all from Woo's extraordinary plastic imagination and everything it brings together, from B movies to great Mannerist painting. His style does not brook being comprised, and his first two American films, Hard Target and Broken Arrow, can be seen, respectively, as a kind of goalless draw and as a watering down of his imagination. However, with his latest film, Face/Off, Woo has finally managed to marry the craziness of his style with a suitably excessive subject--the theme of the double, of good and evil." [Art Index]

Sanchez Valdes, J.
"A Better Tomorrow?" Bright Lights /13, Summer 94; p.40-46.
Discusses homo-erotic aspects of relationships between heterosexual men in John Woo's films.

Sandell, Jillian.
"Hong Kong's master of balletic blood 'n bulletplay speaks!" Bright Lights

Sandell, Jillian.
"Reinventing Masculinity: The Spectacle of Male Intimacy in the Films of John Woo. Film Quarterly v49, n4 (Summer, 1996):23 (12 pages).
UC users only
"Masculinity in the action films of John Woo, one of Hong Kong's most famous and respected directors, is discussed. Woo, who has been a cult favorite in the United States since the late 1980s, is famous, in particular, for his vision of intense male friendships, which are depicted through his trademark blend of breathtakingly choreographed action sequences combined with tragic and sentimental plots about the place of loyalty and honor in a corrupt and violent world. Unlike Hollywood action films, which typically celebrate the male body in a very literal way, Woo's films valorize a model of masculinity that blends an understated emotional intensity with the physical strength and expertise of a deadly killer. Woo's Hong Kong films, including A Better Tomorrow (1986), The Killer (1989), and Hard-Boiled (1992), as well as his two Hollywood films to date, Hard Target (1993) and Broken Arrow (1996), are discussed." [Art Index]

Tan, See Kam.
"Delirious Native Chaos and Perfidy: A Postcolonial Reading of John Woo's The Killer." Antithesis, l. 6 no. 2. 1993. pp 53-66.

Trbic, Boris.
"The Emerging Dragon: John Woo." Senses of Cinema
UC users only

Van Gelder, Lawrence
"Going Hollywood." (Hong Kong-based filmmaker John Woo) (column) The New York Times May 10, 1991 v140 pC8(L) col 6 (8 col in)

Vatrican, Vincent; Saada, Nicolas
"John Woo, le démon des armes./ Gare à Woo!" Cahiers du Cinéma; nr.470 (July-Aug 1993); p.66-69
Appraisal of the violent films of Hong Kong director J.W. ("Lat sau san tam", "[Bullet in the head]", "Yingxiong bense", "Yingxiong bense II") on the occasion of their release in France.

Weinraub, Bernard
"A specialist in esthetics of offbeat violence." (Hong Kong filmmaker John Woo) The New York Times June 30, 1997 v146 pC9(L) col 6 (20 col in)

Weinraub, Bernard
"A director's ballets with bullets." (profile of Hong Kong action-movie director John Woo) (Living Arts Pages) The New York Times Feb 22, 1996 v145 pB1(N) col 3 (33 col in)

Williams, Tony.
"John Woo and his Discontents." Cineaction, 1997, Issue 42, p40-46, 7p
UC users only
This article looks at the challenges encountered by Chinese motion picture director John Woo when he penetrated the U.S. film industry. Considered similar to the fates of Mauritz Stiller, Victor Sjöstrom and Fritz Lang, Woo has been confronted with economic constraints on his creative abilities. He also faced these difficulties during his early years in the Hong Kong film industry. His first films in the U.S. included "Hard Target" and "Broken Arrow." One of the filmmaking styles of Woo is putting audiences under the interrogating gaze of a character.

Williams, Tony.
"Space, Place, and Spectacle: The Crisis Cinema of John Woo." Cinema Journal vol. 36 no. 2. 1997 Winter. pp: 67-84.
UC users only

Wolcott, James
"Blood test." (John Woo, director of violent films in Hong Kong, now working under Hollywood standards) The New Yorker, August 23, 1993 v69 n27 p62(7)
"Woo's super-violent Hong Kong films such as 'Hard Boiled' and 'the Killer,' made him a cult hero, but now working in Hollywood, he is continually frustrated by the ratings board and audience testing. He has to modify 'Hard Target' seven times, cutting both gory scenes and arty constructions." [Expanded Academic Index]

Woo, John
"Chinese poetry in motion." Sight & Sound IV/7, July 94; p.61.
"Hong Kong filmmaker John Woo discusses his film career. He describes his background as a director and his transition from the making of commercial films and comedies to the making of films true to himself. He states that his films explore themes and emotions common to everyone. He discusses his hatred of violence and his efforts to demonstrate, through his films, that violence can be defeated by justice. He concludes by explaining why he made The Killer, his first success in the West." [Art Index]

Woo, John
John Woo : interviews Jackson : University Press of Mississippi, 2005.
MAIN: PN1998.3.W655 J65 2005; PFA : PN1998.3.W63 A3 2005
Table of contents http://www.loc.gov/catdir/toc/ecip056/2005001469.html

Yiu-wai, Chu.
"(In)Authentic Hong Kong: The '(G)Local' Cultural Identity in Postcolonial Hong Kong Cinema." Post Script: Essays in Film & the Humanities. 20(2-3):147-58. 2001 Winter-Spring-Summer.
UC users only
"During the late transitional period before hitHong hitKong's 1997 reversion to mainland China, hitHong hitKong hitidentity was one of the most contested issues hitin the field of hitHong hitKong hitcultural studies. Around the late 1990s, there were a number of hitHong hitKong movies that tried to rethink hitHong hitKong history and/or hitidentity since the handover, including Mable Cheung's "City of Glass," Ann Hui's "Ordinary Heroes," and Sylvia Chang's "Tempting Heart." hitIn these movies that emphasize, to different extents, the representation of hitHong hitKong history, there emerges a strangely hybridized imagery of local hitHong hitKong. Such imagery might disturb the dichotomy of the global as economic and the local as hitcultural. The cast of all three movies include foreign actors acting as "authentic" hitHong hitKong characters hitin films that place heavy emphasis on cinematic verisimilitude hitin the representation of hitHong hitKong history. The strange inauthentic local imagery hitin these films poses important questions to the concept of Chineseness hitin the global age." [IIPA]

A Better Tomorrow

Conroy, Karen Fang.
John Woo's A better tomorrow Hong Kong: Hong Kong University Press, 2004.
MAIN: PN1998.3.W66 F36 2004

Hanke, Robert.
"John Woo's Cinema of Hyperkinetic Violence: From A Better Tomorrow to Face/Off." (Critical Essay) Film Criticism v24, n1 (Fall, 1999):39.
UC users only
"Whereas Hong Kong filmmaker John Woo's first two Hollywood films reflect his assimilation into the generic conventions and formulas of the mainstream "American" action movie, Face/Off represents a generic transformation. Traditionally, action movies have defined hegemonic masculinity in relation to physical strength, decisiveness, invulnerability, and violence, separated from any emotion. Although Hard Target and Broken Arrow exemplify some Hong-Kongification of the Hollywood action movie, it was not until Face/Off that the density of Woo's hybrid aesthetic and his recoding of masculinity would be realized. Face/Off carries on with concerns evinced in his Hong Kong films--the vicissitudes and instability of the masculine subject--to bring to Hollywood action films a new kind of male protagonist. Linking violence to emotional intensity and visceral feeling, and to states of vulnerability and passivity, blurring the border between mind and body, rational and irrational, male and female, the film reinvents masculinity as a dialectic of violence and sensitivity." [Art Index]

Lee, Edmund
"A Bitter Tomorrow: Everybody's Kung Fu Fighting." The Village Voice 4338 [22 September 1998] 144

Sanchez Valdes, J.
"A Better Tomorrow?" Bright Lights /13, Summer 94; p.40-46.
Discusses homo-erotic aspects of relationships between heterosexual men in John Woo's films.

Stringer, Julian.
"Your Tender Smiles Give Me Strength': Paradigms of Masculinity in John Woo's A Better Tomorrow and The Killer." Screen, vol. 38 no. 1. 1997 Spring. pp 25-41.
"The writer discusses paradigms of masculinity in John Woo's films A Better Tomorrow and The Killer. He contends that in enlarging the possibilities of the action film, these films are of interest for the manner in which they create competing paradigms of masculinity and for what they have to say about Hong Kong's historical situation as it approached the 1997 transfer of power to China. He notes that both films share a number of characteristics, including extreme violence and the story line of a gangster or other "agent of the underworld" trying to go straight. He argues that the films combine action heroes and suffering heroes simultaneously--scenes of sadistic cruelty and violence are juxtaposed with scenes of melancholic sadness and longing--in an ambivalent treatment of male subjectivity." [Art Index]

Windtalkers

See Native Americans in Movies bibliography

Zhang Yi-Mou

Chen, Ming-May Jessie.
Representation of the cultural revolution in Chinese films by the Fifth Generation filmmakers : Zhang Yimou, Chen Kaige, and Tian Zhuangzhuang Lewiston, N.Y. : Edwin Mellen Press, c2007.
MAIN: PN1993.5.C4 C4286 2007;
Table of contents http://www.loc.gov/catdir/toc/ecip0711/2007005940.html

Chen Xihe.
"On the Father Figures in Zhang Yimou's Films: From Red Sorghum to Hero." Asian Cinema, Fall/Winter2004, Vol. 15 Issue 2, p133-140, 8p

Cheshire, Godfrey.
"The long way home." (Chinese film directors Chen Kaige and Zhang Yimou) Film Comment v28, n4 (July-August, 1992):36 (4 pages).
Chen and Yimou make critically acclaimed films that the Chinese government will not permit to be shown on mainland China. Zhang directed 'Raise the Red Lantern' and 'Ju Dou.' Chen's latest film is 'Farewell to my Concubine.'

"Chinese cinema: Mr Zhang's profession." (filmmaker Zhang Yimou) (Books and Arts)
The Economist (US) Feb 11, 1989 v310 n7589 p84(1)

Chow, Rey.
"Sentimental Returns: On the Uses of the Everyday in the Recent Films of Zhang Yimou and Wong Kar-Wai." New Literary History. 33(4):639-54. 2002 Autumn
UC users only
The article examines the portrayal of daily life in Chinese cinema, focusing on the works of filmmakers Wong Kar-wai and Zhang Yimou and themes of family, tradition, and emotion. Discussion focuses on the preservation of the utopic as a means of redemption from the mundane pragmatism of living.

Chow, Rey.
"Toward an Ethics of Postvisuality: Some Thoughts on the Recent Work of Zhang Yimou." Poetics Today, Winter2004, Vol. 25 Issue 4, p673-688, 16p
UC users only

Farquhar, Mary
"Zhang Yi-Mou." "Senses of Cinema--great directors, a critical database. Senses of Cinema

"In the censors' toils." (Chinese filmmakers Zhang Yimou and Chen Kaige)
The Economist (US) Nov 12, 1994 v333 n7889 p115(2) (978 words)

Klawans, Stuart.
"Zhang Yimou: local hero." (Chinese filmmaker) Film Comment v31, n5 (Sept-Oct, 1995):10 (7 pages).
Chinese director Zhang has had amazing success in the art film circuit with films such as 'Raise the Red Lantern,' 'Red Sorghum,' 'Ju Dou.' He found the perfect star for his films in the actress Gong Li. His filmmaking and his battles with Chinese authorities are described.

Kong, Haili.
"Symbolism through Zhang Yimou's subversive lens in his early films." Asian Cinema, 1996/97, Vol. 8 Issue 2, p98-115, 18p

Landa, Ishay.
"The Absent Father: Patriarchy and Social Order in the Films of Zhang Yimou." Nature, Society & Thought, 2007, Vol. 20 Issue 2, p228-234, 7p
UC users only

Leiwei Li, David.
"Capturing China in Globalization: The Dialectic of Autonomy and Dependency in Zhang Yimou's Cinema." Texas Studies in Literature and Language. Austin: Fall 2007. Vol. 49, Iss. 3; p. 293 (25 pages)

Li, David Leiwei.
"Capturing China in Globalization: The Dialectic of Autonomy and Dependency in Zhang Yimou's Cinema" Texas Studies in Literature and Language. Fall 2007. Vol. 49, Iss. 3; p. 293 (25 pages)

Lu, Sheldon H.
"National Cinema,Cultural Critique,Transnational Capital The Films of Zhang Yimou." In: Transnational Chinese cinemas : identity, nationhood, gender / edited by Sheldon Hsiao-peng Lu. Honolulu, HI : University of Hawaii Press, 1997.
Full-text available online (UC Berkeley users only)
Asian American Studies PN1993.5.C4 T65 1997
East Asian PN1993.5.C4 T65 1997
Main (Gardner) Stacks PN1993.5.C4 T65 1997

Ning, Ma
"Rules of the forbidden game: Violence in contemporary Chinese cinema." New Cinemas: Journal of Contemporary Film; 2011, Vol. 8 Issue 3, p169-177, 9p
UC users only

Pan, Lynn
"A Chinese master." (film director Zhang Yimou) The New York Times Magazine March 1, 1992 v141 p30 col 1 (110 col in)
"Chinese film director Zhang Yimou's movies have won international critical acclaim, but they are often banned in China. Zhang's latest film is 'The Story of Qiuju.' His life and work are discussed."

Qin, Liyan
"Transmedia Strategies of Appropriation and Visualization: The Case of Zhang Yimou's Adaptation of Novels in His Early Films" In: Art, politics, and commerce in Chinese cinema / edited by Ying Zhu and Stanley Rosen. Hong Kong : Hong Kong University Press ; London : Eurospan [distributor], 2010.
East Asian PN1993.5.C4 A178 2010
Pacific Film Archive PN1993.5.C4 A178 2010

Sklar, Robert.
"Becoming a part of life: an interview with Zhang Yimou." (Interview) Cineaste v20, n1 (Wntr, 1993):28 (2 pages).
UC users only
"Zhang Yimou, an internationally acclaimed filmmaker from China whose works include 'Red Sorghum,' 'Ju Dou' and 'Raise the Red Lantern,' claims his film 'Codename Cougar' has not received international attention due to its transformation into a third rate commercial venture by the censor board. Zhang Yimon is also credited with being instrumental in fostering ties between Chinese and Taiwanese filmmakers, and is a good friend of the Taiwanese film director Hou Hsiao-Hsien. His new film 'The Story of Qui Ju' has been described as different from his earlier works as it reveals influences of Italian neorealism and old Chinese cinema." [Expanded Academic Index]

Sklar, Robert.
"Riding Alone for Thousands of Miles." Cineaste. New York: Fall 2006. Vol. 31, Iss. 4; pg. 66, 3 pgs
UC users only
"More likely, it obliquely condemns the Chinese censors and bureaucrats with whom he has repeatedly clashed over the past two decades, since his debut, Red Sorghum, won the Golden Bear at the 1988 Berlin Film Festival and propelled Chinese film onto the map of contemporary world cinema. Zhang's international reputation rests neither on the recent genre works nor on the more modest forays into local realism, but on his historical melodramas of the early 1990's, beginning with Ju Dou (1990) and Raise the Red Lantern (1991), acclaimed for their sumptuous thematic utilization of color and their sensitive portrayals of the plight of Chinese women in past times, along with strong allegorical implications for present-day China." [ProQuest]

Sterritt, David.
"The personal is political for a Chinese director." (Zhang Yimou; includes related information) Christian Science Monitor v88, n40 (Wed, Jan 24, 1996):12, col 1, 33 col in.

Sutton, Donald S.
"Ritual, history, and the films of Zhang Yimou." East-West Film Journal, 1994, Vol. 8 Issue 2, p31-46, 16p

Wei, Yanmei.
"Music and femininity in Zhang Yimou's family melodrama." Cineaction, 1997, Issue 42, p18-27, 10p

Yang, Che-ming (Philip)
"(Re)writing (Hi)stories: Re-presenting the Gender/Class in the Postcolonial Discourse/Condition of Zhang Yimou's Movies and Wang Chen-ho's Novels." Asian Culture & History; 2011, Vol. 3 Issue 1, p67-72, 6p
UC users only

Ye, Tan
" From the Fifth to the Sixth Generation." (Interview) Film Quarterly, Winter 1999 v53 i2 p2

Yuan Gao.
"Archetypes in Zhang Yimou's Films: Significance of Regional Cutlure." Asian Cinema, Spring/Summer2008, Vol. 19 Issue 1, p104-122, 19p

"Zhang Yimou."
Current Biography August 1992 v53 n8 p53(4)

Zhang Yimou
"I disapprove of making underground films." (Hollywood Films and Chinese Domestic ilms in China, Part 2). Chinese Sociology & Anthropology Winter 1999 v32 i2 p45(2)
"Many Chinese feel motion pictures made in China are inferior to S productions. The best response to this situation is for the state to restrict mportation of foreign major motion pictures and to discourage directors from asking underground films that may produce income but abandon the Chinese audience." [Expanded Academic Index]

Curse of the Golden Flower

Huang Yiju.
"Weaving a Dark Parody: A Psychoanalytical Reading of Zhang Yimou's Curse of the Golden Flower." Film International, 2008, Vol. 6 Issue 2, p41-51, 11p
UC users only

Lunpeng Ma.
"Cinematic Transformation in Post-Socialist China: A Case Study of Zhang Yimou's Curse of the Golden Flower." International Journal of the Humanities, 2010, Vol. 7 Issue 11, p57-73, 17p
UC users only

Rayns, Tony.
"Curse of the Golden Flower." Sight & Sound, May2007, Vol. 17 Issue 5, p58-59
UC users only

Hero

Chan, Evans.
"Zhang Yimou's Hero and the Temptations of Fascism. " Film International, 2004, Vol. 2 Issue 8, p14-23, 10p

"Hero." Sight & Sound, Apr2005, Vol. 15 Issue 4, p84-84

Larson, Wendy.
"On Zhang Yimou's Hero: Counter-response." Journal of Chinese Cinemas, 2009, Vol. 3 Issue 1, p89-91, 3p

Kaldis, Nick.
"A Brief Response to Wendy Larson's 'Zhang Yimou's Hero: dismantling the myth of cultural power'." Journal of Chinese Cinemas, 2009, Vol. 3 Issue 1, p83-88, 6p

Larson, Wendy.
"Zhang Yimou's Hero: dismantling the myth of cultural power." Journal of Chinese Cinemas, 2008, Vol. 2 Issue 3, p181-196, 16p

Lan, Feng
"Zhang Yimou's Hero: Reclaiming the Martial Arts Film for 'All under Heaven'" Modern Chinese Literature and Culture, vol. 20, no. 1, pp. 1-43, 2008 Spring

Lau, Jenny.
"Hero: China's response to Hollywood globalization." Jump Cut, No. 49, spring 2007

Lee, Vivian
"Into/Out of the Critical Divide: The Indeterminacy of Hero." Scope: An Online Journal of Film Studies, vol. 9, 2007 Oct

Nylan, Michael.
"Hero." The American Historical Review. Jun 2005. Vol. 110, Iss. 3; p. 769

Zheng, Yi.
"What Makes a Genre Blockbuster Good to Look At: Zhang Yimou's Transformative Modus Operandi in Hero." Film International, Feb2010, Vol. 8 Issue 1, p47-62, 16p

Ju Dou'

Brook, Vincent.
"To live and dye in China: the personal and the political in Zhang Yimou's "Judou."" Cineaction, 2003, Issue 60, p21-29, 9p

Callahan, William A.
"Comm-fucian-ism: Patriarchal Politics in Judou." In: Gender and culture in literature and film East and West: issues of perception and interpretation: selected conference papers. pp: 157-79. Honolulu, HI: College of Languages, Linguistics, and Literature, University of Hawaii: East-West Center, c1994. Literary studies--East and West ; v. 9
Main Stack PN1995.9.A78.G46 1994
Asian Amer PN1995.9.A8.G46

Cheng, Scarlet.
"'Ju Dou' & the cultural clampdown; up for best foreign film, but banned in China." Washington Post v114 (Sun, March 24, 1991):G1, col 5, 34 col in.

Cheshire, Godfrey.
"The long way home." (Chinese film directors Chen Kaige and Zhang Yimou) Film Comment v28, n4 (July-August, 1992):36 (4 pages).
Chen and Yimou make critically acclaimed films that the Chinese government will not permit to be shown on mainland China. Zhang directed 'Raise the Red Lantern' and 'Ju Dou.' Chen's latest film is 'Farewell to my Concubine.'

Corliss, Richard.
"Ju Dou." (movie reviews) Time v137, n11 (March 18, 1991):78.

Corliss, Richard.
"Tainted love by the dye vat; a Chinese drama is lauded in Hollywood but banned in Beijing." (Ju Dou) Time v137, n11 (March 18, 1991):78.

Denby, David.
"Ju Dou." (movie reviews) New York v24, n12 (March 25, 1991):66.

Holley, David.
"China's angry old men crack down again." (Chinese film 'Ju Dou' subject of criticism despite Academy Award nomination; officials responsible for entering film in competition being disciplined by government) Los Angeles Times v110 (Mon, April 8, 1991):F1, col 3, 21 col in.

Hsiau, A-chin.
"The Moral Dilemma of China's Modernization: Rethinking Zhang Yiyou's Qiu Ju da guansi." Modern Chinese Literature. 10(1-2):191-206. 1998 Spring-Fall

James, Caryn.
"Ju Dou." (movie reviews) New York Times v140 (Sat, Sept 22, 1990):16(L), col 1, 15 col in.

Kwok Wah Lau, Jenny
"'Judou' - a hermeneutical reading of cross-cultural cinema." Film Quarterly, Winter 1991 v45 n2 p2(9)
" The negative reaction of Chinese officials and the Hong Kong public to the film 'Judou' should be examined from a Chinese cultural perspective. Critically acclaimed in the West, the film went against many cultural beliefs of the Chinese people." [Expanded Academic Index]

Lu, Sheldon H.
"Gendered Perspective The Construction and Representation of Subjectivity and Sexuality in Ju Dou." In: Transnational Chinese cinemas : identity, nationhood, gender / edited by Sheldon Hsiao-peng Lu. Honolulu, HI : University of Hawaii Press, 1997.
Full-text available online (UC Berkeley users only)
Asian American Studies PN1993.5.C4 T65 1997
East Asian PN1993.5.C4 T65 1997
Main (Gardner) Stacks PN1993.5.C4 T65 1997

Travers, Peter.
"Ju Dou." (movie reviews) Rolling Stone, n602 (April 18, 1991):101.

Yang, Anand A.
"Ju Dou." (movie reviews) American Historical Review v97, n4 (Oct, 1992):1146 (3 pages).

Zhengxing, Faye.
"On Zhang Yimou's "Golden Touch": a comparison between "Judou" and "The Last Emperor."" Asian Cinema, 1995, Vol. 7 Issue 2, p74-85, 12p

Not One Less

Wang, Yiman.
"From the Indexical to the Spectacle: On Zhang Yimou's Postmodern Turn in Not One Less." Journal of Film & Video; Fall2005, Vol. 57 Issue 3, p3-13, 11p
UC users only

Gang Gary Xu, Yana.
"The Pedagogical as the Political: Ideology of Globalization and Zhang Yimou's Not One Less." Communication Review, 2003, Vol. 6 Issue 4, p327-339, 13p
UC users only

Raise the Red Lantern

Billson, Anne.
"Raise the Red Lantern." (movie reviews) New Statesman & Society v5, n190 (Feb 21, 1992):32.

Cheshire, Godfrey.
"The long way home." (Chinese film directors Chen Kaige and Zhang Yimou) Film Comment v28, n4 (July-August, 1992):36 (4 pages).
Chen and Yimou make critically acclaimed films that the Chinese government will not permit to be shown on mainland China. Zhang directed 'Raise the Red Lantern' and 'Ju Dou.' Chen's latest film is 'Farewell to my Concubine.'

Chute, David.
"Golden hours." (visit in China on the set of "Raise the Red Lantern," the latest film by Zhang Yimou, director of "Ju Dou") Film Comment v27, n2 (March-April, 1991):64 (3 pages).

Corliss, Richard.
"Raise the Red Lantern." (movie reviews) Time v139, n14 (April 6, 1992):66.

Dai Qing.
"Raise the Red Lantern." (movie reviews) Nieman Reports v46, n5 (Winter, 1992):52 (2 pages).

Deppman, Hsiu-Chuang
"Su Tong and Zhang Yimou Women’s Places in Raise the Red Lantern." In: Adapted for the screen: the cultural politics of modern Chinese fiction and film / Hsiu-Chuang Deppman. Honolulu, T.H. : University of Hawai'i Press, c2010.
Full-text available online (UC Berkeley users only)

Garcia, Maria.
"Raise the Red Lantern." (movie reviews) Films in Review v43, n5-6 (May-June, 1992):193 (2 pages).

Glaessner, Verina.
"Dahong Denglong Gaogao Gua." (Raise the Red Lantern) (movie reviews) Sight and Sound v1, n10 (Feb, 1992):41 (2 pages).

Halligan, Fionnuala.
"Banned in China." ('Raise the Red Lantern' film) World Press Review v38, n11 (Nov, 1991):58 (1 page).
The motion picture, 'Raise the Red Lantern,' directed by Zhang Yimou has been banned in China. Zhang says he is Chinese, and will continue to work in China. His work continues to win acclaim abroad.

Klawans, Stuart.
"Raise the Red Lantern." (movie reviews) Nation v255, n2 (July 13, 1992):64 (2 pages).

Lee, Joann.
"Zhang Yimou's "Raise the Red Lantern": contextual analysis of film through a Confucian/feminist matrix." Asian Cinema, 1996, Vol. 8 Issue 1, p120-127, 8p

Maslin, Janet.
"Raise the Red Lantern." (Law Pages) (movie reviews) New York Times v141 (Fri, March 20, 1992):B13(N), C18(L), col 1, 20 col in.

"Red lantern to be raised at home." (Chinese director Zhang Yimou's acclaimed films) (Events/Trends)
Beijing Review v35, n33 (August 17, 1992):7 (2 pages).
" Two of Chinese director Zhang Yimou's much-acclaimed films will finally be shown in his homeland in Sep 1992. The occasion heralds a more flexible government policy on creative works. The films are 'Ju Dou,' a story about incestuous love, and 'Raise the Red Lantern,' a drama set in pre-1949 China satirizing the feudal Chinese society. Both films have received Oscar nominations for best foreign language film category in 1990 and 1991, respectively." [Magazine Index]

Salamon, Julie.
"Raise the Red Lantern." (movie reviews) Wall Street Journal (Thu, March 26, 1992):A12(W), A12(E), col 1, 12 col in.

Travers, Peter.
"Raise the Red Lantern." (movie reviews) Rolling Stone, n626 (March 19, 1992):102.

Walsh, Bettye S.
"Modern Chinese film: an analysis of Red Sorghum, Raise the Red Lantern, and To Live." In: An introduction to Chinese culture through the family / edited by Howard Giskin and Bettye S. Walsh. Albany : State University of New York Press, c2001.
Main Stack DS721.I66 2001

WuDunn, Sheryl.
"Leniency preview? Censors give Chinese film their O.K." (Chinese government approves release of 'Raise the Red Lantern') (International Pages) New York Times v141, sec1 (Sun, June 28, 1992):8(N), 11(L), col 5, 11 col in.

Yanmei Wei.
"Music and Femininity in Zhang Yimou's Family Melodrama." Cineaction, 1997, Issue 42, p18-27, 10p
UC users only

Young, John Dragon.
"Raise the Red Lantern." (movie reviews) American Historical Review v98, n4 (Oct, 1993):1158 (4 pages).

Zhang Yimou. Current Biography v53, n8 (August, 1992):53 (4 pages).
His family's anti-communist stance made Zhang Yimou struggle hard before he emerged as an artistic filmmaker hailed by other countries except his own. After 'Red Sorghum,''Ju Dou' and 'Red Lantern,' he continues to work in China despite the government's strict impositions.

Red Sorghum

Canby, Vincent.
"Red Sorghum." (movie reviews) New York Times v138, sec2 (Sun, Oct 23, 1988):H1(N), H1(L), col 1, 13 col in.; v138, sec1 (Sun, Oct 9, 1988):42(N), 74(L), col 1, 16 col in.

Harvey, Stephen.
"Red Sorghum." (movie reviews) Film Comment v24, n6 (Nov-Dec, 1988):58 (2 pages).

Kauffmann, Stanley.
"Red Sorghum." (movie reviews) New Republic v199, n16 (Oct 17, 1988):36 (2 pages).

Klawans, Stuart.
"Zhang Yimou: local hero." (Chinese filmmaker) Film Comment v31, n5 (Sept-Oct, 1995):10 (7 pages).
Chinese director Zhang has had amazing success in the art film circuit with films such as 'Raise the Red Lantern,' 'Red Sorghum,' 'Ju Dou.' He found the perfect star for his films in the actress Gong Li. His filmmaking and his battles with Chinese authorities are described.

Li, H. C.
"Color, Character, and Culture: On Yellow Earth, Black Cannon Incident, and Red Sorghum." Modern Chinese Literature. 5 (1): 91-119. 1989 Spring.

Neo, David
"Red Sorghum: A Search for Roots." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 28: (no pagination). 2003 Sept-Oct.

Ng, Yvonne
"Imagery and Sound in Red Sorghum." Kinema Spring, 1995

Sterritt, David.
"The personal is political for a Chinese director." (Zhang Yimou; includes related information) Christian Science Monitor v88, n40 (Wed, Jan 24, 1996):12, col 1, 33 col in.

Walsh, Bettye S.
"Modern Chinese film: an analysis of Red Sorghum, Raise the Red Lantern, and To Live." In: An introduction to Chinese culture through the family / edited by Howard Giskin and Bettye S. Walsh. Albany : State University of New York Press, c2001.
Main Stack DS721.I66 2001

Wang, Eugene Yuejin.
"Red Sorghum: Mixing Memory and Desire." In: Celluloid China : cinematic encounters with culture and society / Harry H. Kuoshu. pp: 251-75. Carbondale : Southern Illinois University Press, c2002.
Main Stack PN1995.K86 2002

Yanmei Wei.
"Music and Femininity in Zhang Yimou's Family Melodrama." Cineaction, 1997, Issue 42, p18-27, 10p
UC users only

Xihe, Chen.
"On the Father Figures in Zhang Yimou's Films: From Red Sorghum to Hero." Asian Cinema. 15 (2): 133-40. 2004 Fall-Winter.

Yu Tian
"From Red Sorghum To Devils On The Doorstep: Conceptual Evolution In Chinese Film Adaptations." Post Script; Summer2004, Vol. 23 Issue 3, p64-73, 10p
UC users only
Discusses conceptual evolution in Chinese film adaptations, using as examples "Red Sorghum" (1987) by Zhang Yimou and "Devils on the Doorstep" (2000) by Jiang Wen. Absence of the motive for extravaganza in Wen's work to attract the Western viewer; Unique film about the anti-Japanese war that distinguishes itself from all others for its self-reflections on the Chinese national psyche.

Zhang Jia-Xuan.
"Red Sorghum." (movie reviews) Film Quarterly v42, n3 (Spring, 1989):41 (3 pages).

Zhang, Yingjin.
"Ideology of the Body in Red Sorghum: National Allegory, National Roots, and Third Cinema." In: Colonialism and nationalism in Asian cinema / edited by Wimal Dissanayake. Bloomington : Indiana University Press, c1994.
Main Stack PN1993.5.A75.C65 1994
PFA PN1993.5.A75.C65 1994 Pacific Film Archive collection; non-circulating
Beus, Yifen. "The Road to Modernity: Urban and Rural Scenes in Zhang Yimou's The Story of Qiu Ju, Not One Less, and The Road Home." In: Representing the rural : space, place, and identity in films about the land / edited by Catherine Fo Detroit : Wayne State University Press, c2006. (Main (Gardner) Stacks PN1995.9.C58 R47 2006)

The Road Home (Zhang Yimou)

Beus, Yifen
"The Road to Modernity: Urban and Rural Scenes in Zhang Yimou's The Story of Qiu Ju, Not One Less, and The Road Home." In: Representing the rural : space, place, and identity in films about the land / edited by Catherine Fo Detroit : Wayne State University Press, c2006.
Main (Gardner) Stacks PN1995.9.C58 R47 2006

Cheng, Scarlet.
"The Road Home." Far Eastern Economic Review, 04/06/2000, Vol. 163 Issue 14, p52, 2p

Chow, Rey
"Sentimental Returns: On the Uses of the Everyday in the Recent Films of Zhang Yimou and Wong Kar-Wai." New Literary History: A Journal of Theory and Interpretation, vol. 33, no. 4, pp. 639-54, 2002 Autumn
UC users only

Mi, Aili
"Imaginary Constructs as Instruments of Critical Engagement: Titanic Reference in Zhang Yimou's The Road Home." Asian Cinema, vol. 14, no. 2, pp. 35-54, 2003 Fall-Winter

Stone, Alan.
"Zhang Yimou's long road home: the personal and aesthetic odyssey of China's premier director." The Boston Review, 26, no. 5 (Oct, 2001): 48-51

Shanghai Triad (Zhang Yimou)

Ansen, David
"Raise a red flag; the N.Y. Film Festival scuffles with China over a star director." (China keeps Zhang Yimou from being honored for his 'Shanghai Triad' because of screening of a documentary on the Tiananmen massacre) Newsweek Oct 9, 1995 v126 n15 p74(3) (1695 words)
"China was proud of Zhang's non-political 'Shanghai Triad,' but kept him from going to New York because the festival was also screening Carma Hinton and Richard Gordon's documentary, 'Gates of Heavenly Peace.' The Chinese film market and the government's changing policies toward movies are discussed." [Expanded Academic Index]

Elley, Derek; Williams, Michael.
"Chinese gov't suspends prod'n on Zhang pic." (Zhang Yimou's movie Shanghai Triad) Variety v356, n8 (Sept 19, 1994):34 (1 page).

Farguhar, Mary.
"Blood in the bathroom: Shanghai Triad as gangster noir." In: Cinema, law, and the state in Asia Full-text available online (UC Berkeley users only)

Johnson, Brian D.
"Shanghai Triad." (movie reviews) Maclean's v109, n6 (Feb 5, 1996):57 (1 page).

Kraicer, Shelly.
"Allegory and ambiguity in Zhang Yimou's Shanghai Triad." Cineaction, 1997, Issue 42, p15-17, 3p
UC users only

Maslin, Janet.
"Shanghai Triad." (movie reviews) New York Times v145 (Thu, Dec 21, 1995):B5(N), C12(L), col 1, 14 col in.; v145 (Fri, Sept 29, 1995):B1(N), C1(L), col 3, 25 col in.

Ng, Yvonne.
"Zhang Yimou's "Shanghai Triad": beyond the gangster film genre." Kinema, Fall 1998, Issue 10, p35-43, 9p

Pawelczak, Andy.
"Shanghai Triad." (movie reviews) Films in Review v47, n3-4 (March-April, 1996):66 (2 pages).

Rayns, Tony.
"China: censors, scapegoats and bargaining chips.(Film Bureau of China) Index on Censorship v24, n6 (Nov-Dec, 1995):69 (11 pages).
The Film Bureau of China has been ineffective in preventing the production of independent films and video-making. The overall strategy of the Bureau has been to shift the industry from the government sector to the private sector. The Film Bureau has been especially harsh with Zhang Yimou and has banned his movies 'To Live' and 'Shanghai Triad' which are about the political influence and mercenary activity.

Romney, Jonathan.
"Shanghai Triad." (movie reviews) New Statesman & Society v8, n380 (Nov 24, 1995):33 (1 page).

Schell, Orville.
"The China syndrome." (China makes another misstep in public relations) New Yorker v71, n31 (Oct 9, 1995):33 (1 page).
Chinese director Zhang Yimou missed the premier of his film 'Shanghai Triad' at the 1995 New York Film Festival after Chinese officials put pressure on him to stay away from the event. This is another example of China's poor handling of public relations events.

The Story of Qiu-Ju

Corliss, Richard.
"The Story of Qiu-Ju." (movie reviews) Time v141, n17 (April 26, 1993):68 (2 pages).

Grenier, Richard.
"The Story of Qiu-Ju." (movie reviews) Commentary v97, n5 (May, 1994):52.

Hoberman, J.
"China's revolutionary director." (Zhang Yimou) Vogue v183, n4 (April, 1993):214 (3 pages).

Chinese film director Zhang Yimou has won international acclaim for his movies, which are the first Chinese films to be successful in the US art market. His latest is 'The Story of Qiu Ju,' which features his usual star, Gong Li.

Holley, David.
"China's angry old men crack down again." (Chinese film 'Ju Dou' subject of criticism despite Academy Award nomination; officials responsible for entering film in competition being disciplined by government) Los Angeles Times v110 (Mon, April 8, 1991):F1, col 3, 21 col in.

Kauffmann, Stanley
"The Story of Qiu Ju." (movie reviews) . The New Republic May 17, 1993 v208 n20 p34(1)

Kissin, Eva H.
"The Story of Qiu-Ju." (movie reviews) Films in Review v44, n7-8 (July-August, 1993):272.

Klawans, Stuart.
"The Story of Qiu-Ju." (movie reviews) Nation v256, n17 (May 3, 1993):606 (2 pages).

Lane, Anthony.
"The Story of Qiu-Ju." (movie reviews) New Yorker v69, n10 (April 26, 1993):110.

Maslin, Janet.
"The Story of Qiu-Ju." (movie reviews) New York Times v142 (Fri, Oct 2, 1992):B9(N), C12(L), col 1, 17 col in.; v142 (Fri, April 16, 1993):C8(L), col 6, 14 col in.

Pan, Lynn.
"A Chinese Master." (film director Zhang Yimou) New York Times Magazine v141 (Sun, March 1, 1992):30, col 1, 110 col in.
Chinese film director Zhang Yimou's movies have won international critical acclaim, but they are often banned in China. Zhang's latest film is 'The Story of Qiuju.' His life and work are discussed.

Sklar, Robert.
"The Story of Qiu-Ju." (movie reviews) Cineaste v20, n1 (Wntr, 1993):41 (2 pages).

Sklar, Robert
"Becoming a part of life: an interview with Zhang Yimou." (Interview) Cineaste Wntr 1993 v20 n1 p28(2)
UC users only
Zhang Yimou, an internationally acclaimed filmmaker from China whose works include 'Red Sorghum,' 'Ju Dou' and 'Raise the Red Lantern,' claims his film 'Codename Cougar' has not received international attention due to its transformation into a third rate commercial venture by the censor board. Zhang Yimon is also credited with being instrumental in fostering ties between Chinese and Taiwanese filmmakers, and is a good friend of the Taiwanese film director Hou Hsiao-Hsien. His new film 'The Story of Qui Ju' has been described as different from his earlier works as it reveals influences of Italian neorealism and old Chinese cinema.

Sklar, Robert.
"The Story of Qiu-Ju." (movie reviews) Cineaste v20, n1 (Wntr, 1993):41 (2 pages).

Young, John Dragon.
"The Story of Qiu-Ju." (movie reviews) American Historical Review v98, n4 (Oct, 1993):1158 (4 pages).

To Live

Ansen, David.
"To Live." (movie reviews) Newsweek v124, n24 (Dec 12, 1994):72 (1 page).

Blake, Richard A.
"To Live." (movie reviews) America v172, n2 (Jan 28, 1995):25 (1 page).
UC users only

Chow, Rey
"We endure, therefore we are: survival, governance, and Zhang Yimou's 'To Live.'" (analysis of Chinese filmmaker's 1994 film)(Ethical Politics) The South Atlantic Quarterly Fall 1996 v95 n4 p1039 (26)
"Zhang Yimou's 1994 film 'To Live' celebrates, on the surface, one Chinese family's ability to endure hardship in order to survive. At a deeper level, however, the film subtly criticizes China's totalitarian society and Communist government. It shows, by means of allegory and seemingly incidental episodes, details and characters, that China's preoccupation with its own survival has prolonged its cyclical experiences of hardship. Zhang sees China's celebration of endurance not as a virtue but as his country's most destructive ideology, the one that prevents it from grappling with its real problems." [Expanded Academic Index]

Corliss, Richard.
"To Live." (movie reviews) Time v144, n23 (Dec 5, 1994):90 (1 page).

James, Caryn.
"To Live." (movie reviews) New York Times v144 (Fri, Sept 30, 1994):B3(N), C30(L), col 3, 24 col in.

Johnson, Brian D.
"To Live." (movie reviews) Maclean's v108, n12 (March 20, 1995):76 (2 pages).

Lane, Anthony.
"To Live." (movie reviews) New Yorker v70, n39 (Nov 28, 1994):159 (2 pages).

Lewis, Kevin.
"To Live." (movie reviews) Films in Review v45, n11-2 (Nov-Dec, 1994):58 (2 pages).

Liang Shi.
"The Daoist Cosmic Discourse in Zhang Yimou's To Live." Film Criticism, Winter99/2000, Vol. 24 Issue 2, p2-16, 15p
UC users only

Maslin, Janet.
"To Live." (movie reviews) New York Times v144 (Fri, Dec 2, 1994):C10(L), col 1, 10 col in.

Rayns, Tony.
"China: censors, scapegoats and bargaining chips.(Film Bureau of China) Index on Censorship v24, n6 (Nov-Dec, 1995):69 (11 pages)."
The Film Bureau of China has been ineffective in preventing the production of independent films and video-making. The overall strategy of the Bureau has been to shift the industry from the government sector to the private sector. The Film Bureau has been especially harsh with Zhang Yimou and has banned his movies 'To Live' and 'Shanghai Triad' which are about the political influence and mercenary activity.

Rayns, Tony.
"Huozhe. (To Live) (movie reviews) Sight and Sound v4, n10 (Oct, 1994):45 (2 pages).

Shi, Liang
"The Daoist Cosmic Discourse in Zhang Yimou's To Live." Film Criticism Winter 1999 v24 i2 p2 (5827 words)
UC users only

Walsh, Bettye S.
"Modern Chinese film: an analysis of Red Sorghum, Raise the Red Lantern, and To Live." In: An introduction to Chinese culture through the family / edited by Howard Giskin and Bettye S. Walsh. Albany : State University of New York Press, c2001.
Main Stack DS721.I66 2001

Williams, Tony.
"Hong Kong Cinema, the Boat People, and To Liv(e)." Asian Cinema. 11(1):131-42. 2000 Spring-Summer.

Zhiwei Xiao.
"To Live." (movie reviews) American Historical Review v100, n4 (Oct, 1995):1212 (3 pages).

Jia Zhangke

Berry, Chris
"Jia Zhangke and the Temporality of Postsocialist Chinese Cinema: In the Now (and Then)." In: Futures of Chinese cinema: technologies and temporalities in Chinese screen cultures / edited by Olivia Khoo and Sean Metzger. Bristol, UK ; Chicago : Intellect, 2009.
Full-text available online (UC Berkeley users only)

Cheung, Esther M. K.
"Realisms within Conundrum." China Perspectives; 2010, Vol. 2010 Issue 1, p11-20, 10p
UC users only

Cui, Shuqin
"Boundary Shifting: New Generation Filmmaking and Jia Zhangke's Films." In: Art, politics, and commerce in Chinese cinema / edited by Ying Zhu and Stanley Rosen. Hong Kong : Hong Kong University Press ; London : Eurospan [distributor], 2010.
East Asian PN1993.5.C4 A178 2010
Pacific Film Archive

Hui, Wang.
"Jia Zhangke's World and China's Great Transformation: A Revised Version of a Speech Given at "The Still Life Symposium" at Fenyang High School." positions, Spring2011, Vol. 19 Issue 1, p217-228, 12p
UC users only

Jaffee, Valerie
"Bringing the World to the Nation: Jia Zhangke and the Legitimation of Chinese Underground Film." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 32, 2004 July-Sept

Jaffee, Valerie
"An Interview with Jia Zhangke." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 32, 2004 July-Sept

Kin-Yan Szeto.
"A Moist Heart: Love, Politics and China's Neoliberal Transition in the Films of Jia Zhangke." Visual Anthropology, Mar-Jun2009, Vol. 22 Issue 2/3, p95-107, 13p
UC users only

Khoo, Olivia Metzger, Sean
"Jia Zhangke and the Temporality of Postsocialist Chinese Cinema: In the Now (and then)." In: Futures of Chinese Cinema : Technologies and Temporalities in Chinese Screen Cultures / edited by Olivia Khoo and Sean Metzger. Bristol, UK ; Chicago : Intellect, 2009.
Full-text available online (UC Berkeley users only)

Kraicer, Shelly.
"An Interview with Jia Zhangke." Cineaction, 2003, Issue 60, p30-33, 4p

Lin, Xiaoping
"Jia Zhangke's Cinematic Trilogy: A Journey Across the Ruins of Post-Mao China." In: Children of Marx and Coca-Cola : Chinese Avant-Garde Art and Independent Cinema Honolulu : University of Hawai'i Press, c2010.
Full-text available online (UC Berkeley users only)

Xiao, Jiwei
"The Quest for Memory: Documentary and Fiction in Jia Zhangke's Films." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, Issue 59, 2011

Zhang, Hongbing
"Ruins and Grassroots: Jia Zhangke's Cinematic Discontents in the Age of Globalization." In: Chinese ecocinema : in the age of environmental challenge / edited by Sheldon Lu and Jiayan Mi. Hong Kong : Hong Kong University Press ; London : Eurospan [distributor], 2009.
Main (Gardner) Stacks PN1993.5.C4 C455 2009

Platform

Fitzhenry, Michael.
"China Art by Phone: Mobile Movies." Visual Anthropology; May/Jun2008, Vol. 21 Issue 3, p202-216, 15p
UC users only

Havis, Richard James.
"Illusory Worlds: An Interview with Jia Zhangke." Cineaste, Fall2005, Vol. 30 Issue 4, p58-59, 2p
UC users only

Kerr, Philip.
"Talking about a revolution." New Statesman, 8/12/2002, Vol. 131 Issue 4600, p32, 1p
UC users only

Kraicer, Shelly.
"An Interview with Jia Zhangke." Cineaction, 2003, Issue 60, p30-33, 4p

Lin, Xiaoping
"Jia Zhangke's Cinematic Trilogy: A Journey Across the Ruins of Post-Mao China." In: Children of Marx and Coca-Cola : Chinese Avant-Garde Art and Independent Cinema Honolulu : University of Hawai'i Press, c2010.
Full-text available online (UC Berkeley users only)

Teo, Stephen
"Cinema with an Accent: Interview with Jia Zhangke, director of Platform." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema, vol. 15, 2001 July-Aug

Zhang, Xudong
"Poetics of Vanishing." New Left Review; May/Jun2010, Issue 63, p71-88, 18p

Still Life

Bíró, Yvette.
"Tender is the Regard: I Don't Want to Sleep Alone and Still Life." Film Quarterly, Summer2008, Vol. 61 Issue 4, p34-40, 7p
UC users only

Chain, Andrew
"Moving with the Times." Film Comment, Mar/Apr2009, Vol. 45 Issue 2, p40-43, 4p
UC users only

Dalle, Eric.
"Narrating topography: Still Life and the cinema of Jia Zhangke." Jump Cut, No. 53, summer 2011
UC users only

Dudley, Andrew.
"Interview with Zhang Ke Jia." Film Quarterly, Summer2009, Vol. 62 Issue 4, p80-83, 4p
UC users only

"A Feeling for Life." Beijing Review, 1/25/2007, Vol. 50 Issue 4, p44-45, 2p
UC users only

Hui, Wang.
"Jia Zhangke's World and China's Great Transformation: A Revised Version of a Speech Given at "The Still Life Symposium" at Fenyang High School." positions, Spring2011, Vol. 19 Issue 1, p217-228, 12p
UC users only

Jie, Li
"Home and Nation Amid the Rubble: Fei Mu's Spring in a Small Town and Jia Zhangke's Still Life." Modern Chinese Literature and Culture, vol. 21, no. 2, pp. 86-125, 2009 Fall

Johnston, Ian
"Still, Life: Looking at Jia Zhang-ke's Recent Masterpiece." Bright Lights Film Journal, vol. 58, 2007 Nov

Kraicer, Shelly.
"Chinese Wasteland." Cinema Scope, Winter2007, Issue 29, p10-12, 3p
UC users only

Rapfogel, Jared.
"Still Lives in Times of Change: An Interview with Jia Zhangke." Cineaste, Spring2008, Vol. 33 Issue 2, p44-47, 4p
UC users only

Zhang, Yingjin
"Space of Polylocality: Still Life of Ruins: Capital, Labor, Nature." In: Cinema, space, and polylocality in a globalizing China / Yingjin Zhang. Honolulu : University of Hawaii Press, 2010.
Full-text available online [UC Berkeley users only]
Main (Gardner) Stacks PN1993.5.C4 Z5 2010)

Zhu, Ping.
"Destruction, Moral Nihilism and the Poetics of Debris in Jia Zhangke's Still Life." Visual Anthropology, Jul/Aug2011, Vol. 24 Issue 4, p318-328, 11p
UC users only

The World

Bloom, Michelle
"Transnational Chinese Cinema with a French Twist: Emily Tang Xiaobai's Conjugation and Jia Zhengke's The World as Sinofrench Films." Modern Chinese Literature and Culture, vol. 21, no. 2, pp. 198-245, 2009 Fall

Gaetano, Arianne.
"Rural Woman and Modernity in Globalizing China: Seeing Jia Zhangke's The World." Visual Anthropology Review, 2009, Vol. 25 Issue 1, p25-39, 15p
UC users only

Havis, Richard James.
"Illusory Worlds: An Interview with Jia Zhangke." Cineaste, Fall2005, Vol. 30 Issue 4, p58-59, 2p
UC users only

Li Xuewu
"Talking about The World and So Close to Paradise." Contemporary Cinema, 2005, 4

Lu Shaoyang
"A View on The World Directed by Jia Zhangke." Contemporary Cinema, 2005, 4

Lu, Sheldon H.
"Sinophone Cinema and Postsocialist Television: A Migrant Dancer in The World." In: Chinese modernity and global biopolitics : studies in literature and visual culture / Sheldon H. Lu. Honolulu : University of Hawai'i Press, c2007.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks B831.2 .L82 2007

Rapfogel, Jared.
"Still Lives in Times of Change: An Interview with Jia Zhangke." Cineaste, Spring2008, Vol. 33 Issue 2, p44-47, 4p
UC users only

Silbergeld, Jerome
"Façades: The New Bejing and the Unsettled Ecology of Jia Zhangke's The World." In: Chinese ecocinema : in the age of environmental challenge / edited by Sheldon Lu and Jiayan Mi. Hong Kong : Hong Kong University Press ; London : Eurospan [distributor], 2009.
Main (Gardner) Stacks PN1993.5.C4 C455 2009

Tonglin Lu. "Fantasy and reality of a virtual China in Jia Zhangke's film The World." Journal of Chinese Cinemas, 2008, Vol. 2 Issue 3, p163-179, 17p
UC users only

Wang, Yanjie.
"Displaced in the Simulacrum: Migrant Workers and Urban Space in The World." Asian Cinema, Spring/Summer2011, Vol. 22 Issue 1, p152-169, 18p

Zhang, Yingjin
"Space of Polylocality: Remapping the City: The Airplane: Imagined Freedom in The World." In: Cinema, space, and polylocality in a globalizing China / Yingjin Zhang. Honolulu : University of Hawaii Press, 2010.
Full-text available online [UC Berkeley users only]
Main (Gardner) Stacks PN1993.5.C4 Z5 2010)

Zhang, Xudong
"Poetics of Vanishing." New Left Review; May/Jun2010, Issue 63, p71-88, 18p

Japan

Allison, Anne
A male gaze in Japanese children's cartoons, or Are naked female bodies always sexual? [Durham, N.C.]: Duke University, [1993?]
EAST: HQ792.J3 A55 1993

Anderson, Joseph L.
The Japanese film: art and industry, by Joseph L. Anderson and Donald Richie. With a foreword by Akira Kurosawa. New York, Grove Press [1960]. Series title: An Evergreen book E-263.
UCB Main PN1993.5.J35 A55
UCB Moffitt PN1993.5.J3 A7

Barrett, Gregory
Archetypes in Japanese film: the sociopolitical and religious significance of the principal heroes and heroines / Gregory Barrett. Selinsgrove [Pa.]: Susquehanna University Press; London: Associated University Presses, c1989.
UCB Main PN1993.5.J3 B371 1989 *c2 copies

Baskett, Michael.
The attractive empire : transnational film culture in Imperial Japan Honolulu : University of Hawai'i Press, c2008.
MAIN: PN1993.5.J3 B38 2008

Bernardi, Joanne.
Writing in light: the silent scenario and the Japanese pure film movement / Joanne Bernardi. Detroit: Wayne State University Press, c2001. Series title: Contemporary film and television series.
UCB Main PN1993.5.J3 B47 2001

Bordwell, David.
"Visual Style In Japanese Cinema, 1925-1945." Film History 1995 7(1): 5-31.
UC users only
Discusses the distinctiveness of Japanese film style and major stylistic trends between 1925 and 1945 as a transformation of Western norms, noting how traditional elements were assimilated through international conventions.

Branded to thrill: the delirious cinema of Susuki Seijun
Edited by Simon Field and Tony Rayns. London: Institute of Contemporary Arts: Japan Foundation, 1994.
UCB Main PN1998.3.S89 B73 1994

Buehrer, Beverley Bare
Japanese films: a filmography and commentary, 1921-1989 / Beverley Bare Buehrer. Jefferson, N.C.: McFarland & Co., c1990.
UCB Main PN1993.5.J3 B78 1990
UCB Moffitt PN1993.5.J3 B78 1990

Burch, Noel
"Approaching Japanese." In: Cinema and language / edited by Stephen Heath and Patricia Mellencamp. pp: 79-96. Frederick, MD: University Publications of America, c1983. American Film Institute monograph series; v. 1
Main Stack PN1995.C4863 1983

Burch, Noel
To the distant observer: form and meaning in the Japanese cinema / Noel Burch; rev. and edited by Annette Michelson. Berkeley: University of California Press, c1979.
UCB Main PN1993.5.J3 B8
UCB Moffitt PN1993.5.J3 B8

Burch, Noel
To the distant observer: form and meaning in the Japanese cinema / Noel Burch; rev. and edited by Annette Michelson. London: Scolar Press, 1979.
UCB Main PN1993.5.J3 .B8 1979b
UCB Moffitt PN1993.5.J3 .B8 1979b

Casebier, Allan.
"The Phenomenology of Japanese Cinema: A Husserlian Intervention in the Theory of Cinematic Representation." Quarterly Review of Film & Video, Oct1990, Vol. 12 Issue 3, p9-19, 11p
UC users only

Cazdyn, Eric.
The flash of capital: film and geopolitics in Japan Durham: Duke University Press, c2002.
UCB Main PN1993.5.J3 C39 2002

Cazdyn, Eric.
"A Short History Of Visuality In Modern Japan: Crisis, Money, Perception." Japan Forum [Great Britain] 1999 11(1): 95-106.
"Departing from the stories of how two famous Kabuki actors reacted when seeing their own images projected on film (in 1900 and 1995 respectively), this article inquires into the history - and concept - of transformation as it applies to both visuality and capitalism in modern Japan. Both Japanese film perception and capitalism share a similar logic of crisis that is integral when accounting for their large-scale transformations. This linkage between film and capitalism is pursued by studying how forms of perception (through daily viewing habits) intricately relate to money (through daily consuming habits) during the first stages of Japanese modernity." [Historical Abstracts]

Chris D.
Outlaw masters of Japanese film London ; New York : I.B. Tauris, 2005.
MAIN: PN1993.5.J3 D45 2005
PFA : PN1993.5.J3 D45 2005

Cinema and cultural identity: reflections on films from Japan, India, and China
Edited by Wimal Dissanayake. Lanham, MD: University Press of America, c1988.
UCB Main PN1993.5.A75 C56 1988
UCB Moffitt PN1993.5.A75 C56 1988

The cinema of Japan and Korea
Ddited by Justin Bowyer. London : Wallflower, 2004.
MAIN: PN1993.5.J3 C56 2004

Cinematic landscapes: observations on the visual arts and cinema of China and Japan
Edited by Linda C. Ehrlich and David Desser. 1st ed. Austin, Tex.: University of Texas Press, 1994.
UCB Moffitt N72.M6 C55 1994

Cornyetz, Nina.
The ethics of aesthetics in Japanese cinema and literature : polygraphic desire." London ; New York : Routledge, 2007.
MAIN: PL723 .C67 2007
Table of contents http://www.loc.gov/catdir/toc/ecip0610/2006007402.html

Cremin, Stephen.
The Asian Film Library reference to Japanese film 1998 / edited and compiled by Stephen Cremin. London: Asian Film Library, c1998.
UCB East Asia PN1993.5.J3 C74 1998 Reading Room v.1-2 (1998)

Davis, Darrell William.
Picturing Japaneseness: monumental style, national identity, Japanese film / Darrell William Davis. New York: Columbia University Press, c1996. Series title: Film and culture.
UCB Main PN1993.5.J3 D38 1996
UCB Moffitt PN1993.5.J3 D38 1996

De Vos, George A.
Japanese culture through the camera's eye / George DeVos and Winifred Dahl. Berkeley: University of California Extension, c1974.
UCB AsianAmer DS821 .D4

Desjardins, Chris.
Outlaw masters of Japanese film London ; New York : I.B. Tauris, 2005.
MAIN: PN1993.5.J3 D45 2005
PFA : PN1993.5.J3 D45 2005

Desser, David.
Eros plus massacre: an introduction to the Japanese new wave cinema / David Desser. Bloomington: Indiana University Press, c1988. Series title: A Midland book; MB 469.
UCB Main PN1993.5.J3 D471 1988
UCB Moffitt PN1993.5.J3 D47 1988

Dym, Jeffrey A.
"Benshi and the Introduction of Motion Pictures to Japan." Monumenta Nipponica 2000 55(4): 509-536.
"Whereas "motion picture lecturers" were rare exceptions outside Japan, music and sound effects normally being the only aural supplements to silentmovies, within Japan and Japanese colonial and emigrant communities benshi [public speakers] were an essential part of the cinematic experience during the silent film era, 1896-1932. These narrators, often financially successful, marketed cinema, attracted audiences, and provided setsumei [explanations] of what appeared on the screen. Following ancient traditions of "mingled" but separate visual and narrative performances, such as Buddhist etoki [mandala preaching], kabuki, noh, and especially bunraku puppet theater, narrators were involved from the very first introduction of movies into Japan, giving the industry a distinctive Japanese quality unique in cinematic history from very start." [Historical Abstracts]

Fujiwara, Chris.
"Places And Other Fictions: Film Culture in Tokyo." Film Quarterly, Summer2008, Vol. 61 Issue 4, P42-47, 6p
UC users only

Galbraith, Stuart
The Japanese filmography: a complete reference to 209 filmmakers and the over 1250 films released in the United States, 1900 through 1994 / by Stuart Galbraith IV. Jefferson, N.C.: McFarland, c1996.
UCB Main PN1993.5.J3 G35 1996

Gerow, Aaron.
"One print in the age of mechanical reproduction: film industry and culture in 1910s Japan. Screening the Past: An International Electronic Journal of Visual Media and History 2000 (11). 11 January 2000
"In the 1910's, Japanese filmmakers usually made only one print of their films, even though mechanical reproduction was possible and commonplace in other countries, because of a cultural resistance to increasing modernity, the continued perception of cinema as a theatrical event, and a struggle for power between producers and the more powerful exhibitors, who often ordered the production of films for individual theaters to be shown with the traditional Japanese benshi narrators." [Historical Abstracts]

Gerow, Aaron.
A page of madness : cinema and modernity in 1920s Japan Ann Arbor : Center for Japanese Studies, the University of Michigan, 2008.
Main (Gardner) Stacks PN1997.K895 G47 2008

Grilli, Peter.
Japan in film: a comprehensive annotated catalogue of documentary and theatrical films on Japan available in the United States / edited by Peter Grilli. New York: Japan Society, 1984.
UCB East Asia f PN1995.9.J34 G751 1984 Reading Room
UCB Main f PN1995.9.J34 G751 1984

Hall, Jonathan M.
"Japan's Progessive Sex: Male Homosexuality, National Competition, and the Cinema." Journal of Homosexuality. 39(3-4):31-82. 2000.
Author Abstract: "This essay serves as a broad investigation of the origins of what came to be called the "gay boom" in 1990's Japanese cinema: a culmination of print media, television, and especially films which made the gay male not merely a visible (political) subject but also the site of displaced contestations of gendered (female) desire. The most visible transnational signifier of the "gay boom" was the 1992 film Okoge, a film which, in keeping with a Japanese trend which relocates the gay male as a safe displacement of female desire, posits the heterosexual female as the audience's point of identification in a film about the lives of gay Japanese men. Using this as a starting point, this essay seeks to explore how male homosexuality and gender construction operate within both Japanese neationalism and the transnational discourse of Japanese cinema's dissemination." [Article copies available for a fee from The Haworth Document Delivery Service: 1-800-342-9678. E-mail address: Website: ] COPYRIGHT 2000 Haworth Press, Inc.

Hauser, William B.
"Women and War: The Japanese Film Image." In: Recreating Japanese women, 1600-1945 / edited with an introduction by Gail Lee Bernstein. Berkeley: University of California Press, c1991.
Electronic location: http://www.netlibrary.com/summary.asp?id=9978
Main Stack HQ1762.R43 1991
Moffitt HQ1762.R43 1991

Hibakusha cinema: Hiroshima, Nagasaki, and the nuclear image in Japanese film
Edited by Mick Broderick. London: New York: Kegan Paul International; New York: Distributed by Columbia University Press, 1996. Series title: Japanese studies.
UCB Main PN1993.5.J3 H53 1996

High, Peter B.
The Imperial screen: Japanese film culture in the Fifteen years' war, 1931-1945 Madison: University of Wisconsin Press, c2003.
UCB Main PN2924 .H4713 2003

Hirano, Kyoko.
Mr. Smith goes to Tokyo: the Japanese cinema under the American occupation, 1945-1952 / Kyoko Hirano. Washington, D.C.: Smithsonian Institute, 1992.
UCB Main PN1993.5.J3 H57 1992

Hirano, Kyoko
"The New Generation of Japanese Film Producers: Kazuko Misawa" Post Script - Essays in Film and the Humanities 181 [Fall 1998] 82-84

Hirano, Kyoko
"The New Generation of Japanese Film Producers: Shoji Masui" Post Script - Essays in Film and the Humanities 181 [Fall 1998] 79-82

Hirano, Kyoto
"The New Generation of Japanese Film Producers: Lee Bong-U" Post Script - Essays in Film and the Humanities 181 [Fall 1998] 84-86

Hunter, Jack.
Eros in hell: sex, blood and madness in Japanese cinema / [by Jack Hunter]. London; San Francisco: Creation Books, c1998. Series title: Creation cinema collection; 9.
UCB Main PN1993.5.J3 H85 1998

Iles, Timothy
The crisis of identity in contemporary Japanese film : personal, cultural, national Leiden ; Boston : Brill, 2008.
MAIN: PN1993.5.J3 I47 2008

Iwamoto, Kenji.
"Film Criticism and the Study of Cinema in Japan: A Historical Survey." Iconics. 36:129-46. 1987.

Japan pop!: inside the world of Japanese popular culture
Timothy J. Craig, editor. Armonk, N.Y.: M.E. Sharpe, c2000.
UCB Main DS822.5 .J386 2000

Japanese horror cinema
Edited by Jay McRoy. Honolulu : University of Hawai'i Press, 2005.
PFA PN1995.9.H6.J36 2005b
On order for Main

Kawamoto, Saburo
New trends in Japanese cinema / Kawamoto Saburo. Tokyo, Japan: Japan Foundation, Office for the Japanese Studies Center, 1986. Series title: Orientation seminars on Japan; no. 21.
UCB East Asia PN1993.5.J3 K3771 1986

Kenji, Iwamoto.
"From Rensageki to Kinodrama." Review of Japanese Culture & Society. 10:1-13. 1998 Dec. 100-0014

Kirihara, Donald.
"Reconstructing Japanese Film." In: Post-theory: reconstructing film studies / edited by David Bordwell and Noel Carroll. pp: 501-19. Madison: University of Wisconsin Press, c1996. Wisconsin studies in film.
Main Stack PN1994.P6565 1996

Komatsu, Hiroshi.
"The Foundation of Modernism: Japanese Cinema in the Year 1927." Film History 17:2-3 (2005)
UC users only

Komatsu, Hiroshi.
"From Natural Colour To The Pure Motion Picture Drama: The Meaning Of Tenkatsu Company In The 1910s Of Japanese Film History." Film History [Australia] 1995 7(1): 69-86.
"Discusses the "pure motion picture dramas" made using Kinemacolor by the Tenkatsu Company of Tokyo in the 1910's, showing that they were an attempt to make a completely Western style of film that rejected the existing formulas of Japanese cinema."

Lehman, Peter
"The mysterious Orient, the crystal clear Orient[...]" Journal of Film and Video Vol XXXIX nr 1 (Winter 1987); p 5-15
Claims that most Western critics of Japanese films are incapable of a true understanding, due to their restrictive 'Orientalist' outlook; also, studies the modernist/classicist tags as applied to Ozu and Oshima.

LaMarre, Thomas
Shadows on the screen : Tanizaki Junichiro on cinema and "oriental" aesthetics Ann Arbor, MI : Center for Japanese Studies, University of Michigan, 2005.
MAIN: PL839.A7 Z766 2005

Lippit, Akira Mizuta.
"Antigraphy: Notes on Atomic Writing and Postwar Japanese Cinema." Review of Japanese Culture & Society. 10:56-65. 1998 Dec. 100-0014

Lippit, Akira Mizuta
"At the Center of the Outside: Japanese Cinema Nowhere." In: Cinema at the city's edge : film and urban networks in East Asia / edited by Yomi Braester and James Tweedie. Hong Kong : Hong Kong University Press, c2010.
Main (Gardner) Stacks PN1993.5.E19 C56 2010

Masterpieces of Japanese silent cinema
Planned, produced and published by Urban Connections; developed with the support of the Information Technology Promotion Agency (IPA) Tokyo, Japan: Urban Connections/IPA, 2000.
UCB Media Ctr COMPU/D 515

McDonald, Keiko I.
Cinema East: a critical study of major Japanese films / Keiko I. McDonald. Rutherford [N.J.]: Fairleigh Dickinson University Press, c1983.
UCB Main PN1993.5.J3 M35 1983
UCB Moffitt PN1993.5.J3 M35 1983

McDonald, Keiko I.
From book to screen: modern Japanese literature in films / Keiko I. McDonald. Armonk, N.Y.: M.E. Sharpe, c2000.
UCB Main PL747.55 .M36 2000

McDonald, Keiko I.
Japanese classical theater in films / Keiko I. McDonald. Rutherford: Fairleigh Dickinson University Press; Cranbury, N.J.: Associated University Presses, c1994.
UCB Main PN1993.5.J3 M36 1994
UCB Moffitt PN1993.5.J3 M36 1994

McDonald, Keiko I. (ed. and introd.); Desser, David (ed.); Prince, Stephen (ed.)
"Japanese Popular Culture in Films." Post Script: Essays in Film and the Humanities, vol. 28, no. 2, pp. 4-120, 2009 Winter-Spring
UC users only

McDonald, Keiko I.
Reading a Japanese film : cinema in context. Honolulu : University of Hawaii Press, c2006.
Main PN1993.5.J3 M365 2006
Contents: Synergy of theme, style, and dialogue : Kenji Mizoguchi's Sisters of the Gion (1936) -- Dream, song, and symbol : Akira Kurosawa's Drunken angel (1948) -- A Meiji novel for the screen : Shiro- Toyoda's The mistress (1954) -- Period film par excellence : Hiroshi Inagaki's Samurai trilogy (1954-1956) -- Simple means for complex ends : Yasujiro- Ozu's Floating weeds (1959) -- Eros, politics, and folk religion : Kaneto Shindo-'s Onibaba (1963) -- The age-old paradox of innocence and experience : Ko-hei Oguri's Muddy river (1981) -- Satire on the family and education in postwar Japan : Yoshimitsu Morita's The family game (1983) -- Defeat revisited : Masahiro Shinoda's MacArthur's children (1984) -- Satire on contemporary Japan : Ju-zo- Itami's A taxing woman (1987) -- Animation seminal and influential : Hayao Miyazaki's My neighbor Totoro (1988) -- Cultural responses to simplicity : Akira Kurosawa's Madadayo (1993) -- The danger and allure of phantom light : Hirokazu Koreeda's Mabaroshi (1995) -- Stressed-out nineties youth in laid-back sixties dress : Takeshi Kitano's Kids return (1995) -- Bittersweet childhood : Yo-ichi Higashi's Village of dreams (1996) -- A woman director's approach to the country family : Naomi Kawase's Suzaku (1997).

Mellen, Joan.
The waves at Genji's door: Japan through its cinema / by Joan Mellen. 1st ed. New York: Pantheon Books, c1976. Series title: The Pantheon Asia library.
UCB Main PN1993.5.J3 .M41

Mes, Tom
The Midnight Eye guide to new Japanese film Berkeley, Calif. : Stone Bridge Press, c2005.
MAIN: PN1993.5.J3 M47 2005
PFA : PN1993.5.J3 M47 2005
Table of contents http://www.loc.gov/catdir/toc/ecip051/2004022653.html

Murphy, Joseph.
"Brownian Movement in Recent Japanese Film." Post Script: Essays in Film & the Humanities. 18(1):38-51. 1998
UC users only
"Relates hitBrownian motion (a physics term which describes the motion of very small particles as they are tossed around by random molecular motion hitin a fluid) to the element of surprise hitin filmmaking and its effect on the audience. Discusses the role of surprise hitin a hitfilm's delivery of information to the audience. Defines "surprise" as the opposite of teaching hitin the learning process. Compares John Dahl's "Red Rock West" (1992) with Yaguchi Shinobu's "Down the Drain" ("Hadashi no pikunikku," 1992), and illustrates the use of surprise hitin conjunction with hitBrownian motion. Approaches both films from the perspective of "game theory."" [IIPA]

Nagisa Oshima's 100 Years of Japanese Cinema
The forces and themes that have shaped Japan's motion pictures are presented entirely through film clips and stills with narration. 1997. 52 min.
Media Center Video/C MM440

Nornes, Markus. Research guide to Japanese film studies / Abé Mark Nornes and Aaron Gerow. Ann Arbor : Center for Japanese Studies, The University of Michigan, 2009.
Main (Gardner) Stacks PN1993.5.J3 N67 2009

Nygren, Scott.
Time frames : Japanese cinema and the unfolding of history Minneapolis : University of Minnesota Press, c2007.
MAIN: PN1993.5.J3 N94 2007
PFA : PN1993.5.J3 N94 2007
Table of contents http://www.loc.gov/catdir/toc/ecip073/2006033998.html

Nygren, Scott.
"New Narrative Film in Japan: Stress Fractures in Cross-Cultural Postmodernism." Post Script: 11(1):48-56. 1991

Nygren, Scott.
"Reconsidering Modernism: Japanese Film and the Postmodern Context." Wide Angle-A Quarterly Journal of Film History Theory & Criticism. 11(3):6-15. 1989 July.

Okada, Susumu.
"Japanese Films: Images Of A Culture." Cultures [France] 1974 2(1): 205-216.
Examines images commonly used in Japanese film, 1920-70, as a representation of Japanese culture developed through the centuries.

Ota, Carol.
The relay of gazes : representations of culture in the Japanese televisual and cinematic experience Lanham : Lexington Books, c2007.
MAIN: PN1993.5.J3 O86 2007
Table of contents http://www.loc.gov/catdir/toc/ecip0719/2007022713.html

Papp, Zilia.
Traditional monster imagery in manga, anime and Japanese cinema / Zília Papp. Folkestone, Kent, UK : Global Oriental, 2011.
Main (Gardner) Stacks New books NC1764.5.J3 P374 2011

Reader, Keith.
Cultures on celluloid / Keith Reader. London; New York: Quartet Books, 1981.
UCB Main PN1993.5.U6 .R4

Reframing Japanese cinema: authorship, genre, history
Edited by Arthur Nolletti, Jr. and David Desser. Bloomington: Indiana University Press, c1992.
UCB Main PN1993.5.J3 R44 1992
UCB Moffitt PN1993.5.J3 R44 1992

Richie, Donald
A hundred years of Japanese film : a concise history, with a selective guide to DVDs and videos Tokyo ; New York : Kodansha International : Distributed in the U.S. by Kodansha America, 2005.
PFA : PN1993.5.J3 R58 2005
MAIN: PN1993.5.J3 R47115 200

Richie, Donald
"The Influence of Traditional Aesthetics on the Japanese Film." In: Cinematic landscapes: observations on the visual arts and cinema of China and Japan / edited by Linda C. Ehrlich, et al. pp: 155-63. 1st ed. Austin, Tex.: University of Texas Press, 1994.
Moffitt N72.M6.C55 1994
Chinese Stdy PN1993.5.C4.C55 1994

Richie, Donald
Japanese cinema: an introduction / Donald Richie. Hong Kong; New York: Oxford University Press, 1990. Series title: Images of Asia.
UCB Main PN1993.5.J3 R474 1990
UCB Moffitt PN1993.5.J3 R474 1990

Richie, Donald
Japanese cinema; film style and national character. Garden City, Doubleday, 1971.
UCB Main PN1993.5.J35 R479 1971
UCB Moffitt PN1993.5.J3 R5

Richie, Donald
The Japanese movie / Donald Richie. Rev. ed. Tokyo; New York: Kodansha International: Distributed in U.S. by Kodansha Internationa/USA through Harper & Row, 1982.
UCB Main PN1993.5.J3 R48 1982

Richie, Donald
The Japanese movie: an illustrated history / by Donald Richie. 1st ed. Tokyo: Kodansha International; distributed by Japan Publications Trading Co., Rutland, Vt., [c1966].
UCB Main PN1993.5.J35 R48

Richie, Donald
A hundred years of Japanese film: a concise history, with a selective guide to videos and DVDs / Donald Richie; foreword by Paul Schrader. 1st ed. Tokyo; New York: Kodansha International: Distributed in the U.S. by Kodansha America, 2001.
UCB Main PN1993.5.J3 R47115 2001

Richie, Donald
"New Japanese Cinema." Post Script - Essays in Film and the Humanities 18:1 (Fall 1998)
UC users only
"Explores the evolution of Japanese filmmaking from reality-based art to utter fantasy and back to reality. Discusses the role of small, independent films in the revival of Japanese cinema. Indicates the creative new independent films cost less and can afford to show life as it is. Contrasts filmmaking styles from the 1960's to those of the 1990's. States the aim is morality, and the means are aesthetic. Notes that the most arduous struggle is that there are few film schools in Japan. Describes the rewards available for independent Japanese filmmakers." [IIPA]

Richie, Donald
"Viewing Japanese Film: Some Considerations." East-West Film Journal. 1(1):23-35. 1986

Russell, Catherine.
Classical Japanese cinema revisited / by Catherine Russell. New York : Continuum, c2011.
Main (Gardner) Stacks PN1993.5.J3 R87 2011
Contents: Preface -- The classical, the modern, and Japanese cinema in the global system -- Yasujiro Ozu : a short history of the home drama -- Kenji Mizoguchi and his women -- Men with swords and men with suits : the cinema of Akira Kurosawa -- Mikio Naruse : a Japanese woman's cinema -- Remembering the war : three postwar war films -- -- Conclusion.

Russell, Catherine.
"Insides and Outsides: Cross-Cultural and Japanese Film Melodrama." In: Melodrama and Asian cinema / edited by Wimal Dissanayake. pp:143-54. Cambridge; New York: Cambridge University Press, 1993. Cambridge studies in film.
Main Stack PN1993.5.A75.M45 1993

Russell, Catherine.
"'Overcoming Modernity': Gender and the Pathos of History in Japanese Film Melodrama." Camera Obscura. 35:131-57. 1995

Russell, Catherine.
"Tokyo, the movie." Japan Forum Volume 14, Issue 2, 2002
UC users only

Sato, Tadao
Currents in Japanese cinema: essays / by Tadao Sato; translated by Gregory Barrett. 1st ed. Tokyo: Kodansha International; New York: Kodansha International/USA: distributed by Kodansha International/USA through Harper & Row, 1982.
UCB Main PN1993.5.J3 .S2713 1982 *c2 copies
UCB Moffitt PN1993.5.J3 .S2713 1982

Schermann, Susanne.
"Japanese Film and Western Thinking." Transactions of the International Conference of Orientalists in Japan. 37:191-92. 1992.

Schilling, Mark
Contemporary Japanese film / by Mark Schilling. 1st ed. New York: Weatherhill, 1999.
UCB Main PN1993.5.J3 S37 1999
Schrader, Paul
"Yakuza-eiga: a primer." Film Comment; Vol.X nr.1 (Jan-Feb 1974); p.8-17
Discusses the new Japanese genre 'yakuza-eiga', incl. its history, themes, conventions, stylistics, leading actors, directors, and writers, and its relation to the social structure of modern Japan.

Sewell, Dorita.
"The Japanese Film as a Storytelling." Wide Angle-A Quarterly Journal of Film History Theory & Criticism. 5(1):56-61. 1982.

Shapiro, Jerome F.
Atomic bomb cinema: the apocalyptic imagination on film / Jerome F. Shapiro. New York: Routledge, 2002.
UCB Main PN1995.9.W3 S52 2002

Silver, Alain
"Postwar Japanese Cinema: Samurai Film." Film Comment 11:5 (Sept./Oct. 1975)

Standish, Isolde.
A new history of Japanese cinema : a century of narrative film New York : Continuum, 2005.
Table of contents http://www.loc.gov/catdir/toc/ecip052/2004023894.html
GRDS: PN1993.5.J3 S72 2005
MAIN: PN1993.5.J3 S72 2005
MOFF: PN1993.5.J3 S72 2005
PFA : PN1993.5.J3 S72 2005; View current status of this item

Stephens, Chuck
"High & Low: Japanese Cinema Now: A User's Guide." Film Comment 38:1 (January-February 2002) Go to Journal Issue
UC users only

Stringer, Julian.
"Two Japanese Variants of the Absolute Transvestite Film." Journal of Homosexuality. 39(3-4):111-26. 2000.

Svensson, Arne.
Japan. London, A. Zwemmer Ltd.; New York, A. S. Barnes [1971]. Series title: Screen series.
UCB Main PN1998.A2 S8 1971
UCB Moffitt PN1998.A2 S8 1971

Tanaka, Arthur.
"An Encounter with the Japanese Film Industry." Overland. 135:17-20. 1994 Winter.

Thorsten Morimoto, Marie.
"A Woman's Place in the Kitchen of Knowledge: Premodern and Postmodern Representations of Food (for Thought) in Japanese Film." In: Gender and culture in literature and film East and West: issues of perception and interpretation: selected conference ... Honolulu, HI: College of Languages, Linguistics, and Literature, University of Hawaii: East-West Center, c1994. Literary studies--East and West; v. 9
Main Stack PN1995.9.A78.G46 1994
Asian Amer PN1995.9.A8.G46

Tucker, Richard N. (Richard Neil)
Japan - film image [by] Richard N. Tucker. London, Studio Vista, 1973.
UCB Main PN1993.5.J3 T81

Umland, Rebecca A., Umland, Samuel J.
"All for Love: The Myth of Romantic Passion in Japanese Cinema." Mythlore: a Journal of J. R. R. Tolkien, C. S. Lewis, Charles Williams, General Fantasy & Mythic Studies. 23(3 (89)):43-55. 2001 Summer.

Wada-Marciano, Mitsuyo.
Nippon modern : Japanese cinema of the 1920s and 1930s Honolulu : University of Hawai?i Press, c2008.
MAIN: PN1993.5.J3 W33 2008

Watanabe, Morio.
"Imagery and War in Japan: 1995." In: Perilous memories: the Asia-Pacific War(s) / edited by T. Fujitani, Geoffrey M. White, and Lisa Yoneyama. pp: 129-51. Durham [N.C.]: Duke University Press, 2001.
Anthropology DS777.53.P44 2001

Weisser, Thomas
Japanese cinema: the essential handbook / by Thomas Weisser and Yuko Mihara Weisser. 2nd ed. Miami, Fla.: Vital Groups, Inc.; Asian Cult Cinema Publications, 1996.
UCB Main PN1993.5.J3 W44 1996

Weisser, Thomas
Japanese cinema encyclopedia. The horror, fantasy, and scifi films Miami, Fla. : Vital Books ; Asian Cult Cinema Publications, 1997.
MAIN: PN1995.9.H6 W42 1997

Wolf, Barbara
"Those longeurs in Japanese films." The Nation v 213 Aug 30 1971. p. 152-4

Word and image in Japanese cinema
Edited by Dennis Washburn, Carole Cavanaugh. Cambridge, U.K.; New York: Cambridge University Press, 2001.
UCB Main PN1993.5.J3 W67 2001

Yau, Kinnia Shuk-ting.
Japanese and Hong Kong film industries : understanding the origins of East Asian film networks London ; New York : Routledge, 2010.
Main (Gardner) Stacks PN1993.5.J3 Y388 2010

Yomota, Inuhiko; Gerow, Aaron (translator).
"Stranger Than Tokyo: Space and Race in Postnational Japanese Cinema." In: Multiple modernities: cinemas and popular media in transcultural East Asia / edited by Jenny Kwok Wah Lau. pp: 76-89. Philadelphia, PA: Temple University Press, c2003.
Main Stack PN1993.5.E19.M75 2003

Anime

Hayao Miyazaki bibliography
Satoshi Kon bibliography
Mamoru Oshii bibliography

Anime and philosophy : wide eyed wonder
Edited by Josef Steiff and Tristan D. Tamplin. Chicago, Ill. : Open Court, c2010.
Main (Gardner) Stacks NC1766.J3 A53 2010

Animation in Asia and the Pacific
Edited by John A. Lent. Bloomington : Indiana University Press, c2001.
Main Stack NC1765.A538 2001
PFA NC1765.A538 2001 Pacific Film Archive collection; non-circulating

Bolton, Christopher A.
"From Wooden Cyborgs to Celluloid Souls: Mechanical Bodies in Anime and Japanese Puppet Theater." Positions: East Asia Cultures Critique. 10 (3): 729-71. 2002 Winter.

Broderick, Mick
"Making Things New: Regeneration and Transcendence in Anime." In: The end all around us : apocalyptic texts and popular culture / edited by John Walliss and Kenneth G London ; Oakville : Equinox, 2009.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks BL65.C8 E53 2009

Cavallaro, Dani.
Anime and memory : aesthetic, cultural and thematic perspectives / Dani Cavallaro. Jefferson, N.C. : McFarland & Co., c2009.
Main (Gardner) Stacks NC1766.J3 C368 2009

Chandler-Olcott, Kelly. Mahar, Donna.
"Adolescents' Anime-Inspired 'Fanfictions': An Exploration of Multiliteracies." Journal of Adolescent and Adult Literacy. 46 (7): 556-66. 2003 Apr.
UC users only

Cinema anime : critical engagements with Japanese animation
Edited by Steven T. Brown. New York : Palgrave Macmillan, 2006.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks NC1766.J3 C56 2006

Clements, Jonathan
The anime encyclopedia: a guide to Japanese animation since 1917 Berkeley, Calif.: Stone Bridge Press, c2001.
MAIN: NC1766.J3 C53 2001

Condry, Ian.
"Anime Creativity: Characters and Premises in the Quest for Cool Japan." Theory, Culture & Society, Mar2009, Vol. 26 Issue 2/3, p139-163, 25p
UC users only

Cubbison, Laurie
"Anime Fans, DVDs, and the Authentic Text." Velvet Light Trap: A Critical Journal of Film & Television; Fall2005, Issue 56, p45-57, 13p
UC users only
The article discusses the Japanese anime film genre as both a work and a text and the relationship between anime fandom and the DVD format. Anime fans, as well as casual viewers, each exert a certain amount of influence over the marketing aspects of the DVD format. The Japanese term used to describe an anime fan bordering on the obsessive level is presented. Hardcore anime fans observe a certain criteria before buying the DVD format of an anime film.

Desser, David.
"Consuming Asia: Chinese and Japanese Popular Culture and the American Imaginary." In: Multiple modernities : cinemas and popular media in transcultural East Asia / edited by Jenny Kwok Wah Lau. pp: 179-99. Philadelphia, PA : Temple University Press, c2003.
Main Stack PN1993.5.E19.M75 2003

Drazen, Patrick.
Anime explosion! : the what? why? & wow! of Japanese animation Berkeley, Calif. : Stone Bridge Press, c2003.
MAIN: NC1766.J3 D73 2003

Driscoll, Mark.
"From Kino-Eye to Anime-Eye/Ai: The Filmed and the Animated in Imamura Taihei's Media Theory." Japan Forum. 14 (2): 269-96. 2002.
UC users only

Dynon, Andrew.
"Anime, The West and Asian Popular Culture." Metro, Summer2002, Issue 131/132, p190, 5p
UC users only

Fukunaga, Natsuki.
""Those anime students": Foreign language literacy development through Japanese popular culture." Journal of Adolescent & Adult Literacy. Nov 2006. Vol. 50, Iss. 3; p. 206 (17 pages)
UC users only

Gardner, William O.
"Attack of the Phallic Girls." Science Fiction Studies, vol. 29, no. 3, pp. 485-89, November 2002.

Grigsby, Mary.
"Sailormoon: Manga (Comics) and Anime (Cartoon) Superheroine Meets Barbie: Global Entertainment Commodity Comes to the United States." Journal of Popular Culture. 32(1):59-80. 1998 Summer.

Howell, Peter.
"Character Voice in Anime Subtitles." Perspectives: Studies in Translatology, 2006, Vol. 14 Issue 4, p292-305, 14p
UC users only

Hu, Tze-yue G.
Frames of anime : culture and image-building / Tze-yue G. Hu. Hong Kong : Hong Kong University Press, c2010.
Main (Gardner) Stacks NC1766.J3 H8 2010

Izawa, Eri
"The Romantic, Passionate Japanese in Anime: A Look at the Hidden Japanese Soul." In: Japan pop! : inside the world of Japanese popular culture / edited by Melvyn Stokes and Richard Maltby. Armonk, N.Y. : M.E. Sharpe, c2000.
MAIN: DS822.5 .J386 2000

Kehr, Dave.
"Anime, Japanese cinema's second golden age." The New York Times Jan 20, 2002 pAR1(N) pAR1(L) col 1 (35 col in)

Lamarre, Thomas
The anime machine : a media theory of animation / Thomas Lamarre. Minneapolis : University of Minnesota Press, c2009.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks NC1766.J3 L36 2009

Lamarre, Thomas (introd.).
"Between Cinema and Anime." Japan Forum. 14 (2): 183-367. 2002.
UC users only

Lamarre, Thomas.
"From Animation to Anime: Drawing Movements and Moving Drawings." Japan Forum. 14 (2): 329-67. 2002.
UC users only

Leonard, Sean.
"Progress against the law: Anime and fandom, with the key to the globalization of culture." International Journal of Cultural Studies, Sep2005, Vol. 8 Issue 3, p281-305, 24p
UC users only

Looser, Thomas.
"From Edogawa to Miyazaki: Cinematic and Anime-ic Architectures of Early and Late Twentieth-Century Japan." Japan Forum. 14 (2): 297-327. 2002.
UC users only

Ma, Sheng-mei.
"Anime’s Atom Dialectic Dialectic." In: East-West montage : reflections on Asian bodies in diaspora / Sheng-mei Ma. Honolulu : University of Hawai'i Press, c2007.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks DS13 .M3 2007

Miyao, Daisuke.
"Before Anime: Animation and the Pure Film Movement in Pre-War Japan." Japan Forum. 14 (2): 191-209. 2002.
UC users only

Napier, Susan Jolliffe.
Anime from Akira to Princess Mononoke: experiencing contemporary Japanese animation New York: Palgrave, 2001.
Full-text available online (UC Berkeley users only)
MAIN: NC1766.J3 N37 2001

Napier, Susan Jolliffe; Okada Toshio.
"Japanese Anime and its American fans." Susan Napier, Japan Echo August 2003 v30 i4 p19-22
The developments in the field of Japanese animation are described. The animated films made in Japan have been Oscar winning films in the United States, one such film being Spirited Away that won an Academy Award.

Newitz, Annalee
"Magical Girls and Atomic Bomb Sperm: Japanese Animation in America." Film Quarterly Fall 1995 v49 n1 p2(14)
UC users only
"In the past few years, there has been a marked increase in the availability of Japanese animated films in America. Known to fans as anime, and available mostly on videocassette or laserdisc, Japanese animation is often graphically violent and sexual, ranging from comic romances about high school students to pornographic tales about demons. Clubs, conventions, and fanzines dedicated to anime and its fan culture have sprung up on college campuses and in larger cities throughout America. Small distribution companies in the U.S. sometimes make anime available to fans at specialty video stores or through catalogues, but often it is fans themselves who distribute it, using home multimedia technology to subtitle anime brought from Japan. The article discusses the popularity of anime in America and argues that it might be both a result of and a cause for America's anxieties about the potency of its national culture in the world.." [Art Index]

Orbaugh, Sharalyn.
"Sex and the single cyborg: Japanese popular culture experiments in subjectivity." (Japanese Science Fiction)(Author Abstract) Science Fiction Studies Nov 2002 v29 i3 p436-452
UC users only
Author's Abstract: "This paper examines two aspects of subjectivity - sexuality and singularity - that are considered fundamental to a modernist notion of the person. These aspects of subjectivity are under siege as new technologies of reproduction challenge our understanding of sexed bodies and as, simultaneously, a postmodern world-view brings forward the multiplicity of sexual subject positions and embodied hybridity that modernist thinking sought to control or dismiss. In this time of conceptual crisis regarding subjectivity and embodiment, the popular culture media of many advanced countries have produced increasing numbers of narratives about cyborgs, those embodied amalgams of the organic and the machinic. I begin by explaining why the concepts "sexuality" and "singularity" are so important in this context, and why Japanese popular culture is a particularly fruitful ground for exploration of cyborg subjectivities. Then I discuss two recent anime narratives - 'Shinseiki Evangelion' (1995-96, 'Neon Genesis Evangelion') and Kokaku Kidotai (1995, 'Ghost in the Shell') - in terms of their depictions of specific aspects of sexuality and as the nexus of contemporary fears or desires regarding subjectivity that is being negotiated through those depictions. I conclude with observations about what these narratives reveal about new, postmodern conceptions of subjectivity." [Expanded Academic Index]

Osmond, Andrew.
"Anime Magic" Sight & Sound. 11(11):24-26. 2001

Park, Jin Kyu
'Creating My Own Cultural and Spiritual Bubble': Case of Cultural Consumption by Spiritual Seeker Anime Fans." Culture & Religion, Nov2005, Vol. 6 Issue 3, p393-413, 21p
UC users only

Patten, Fred
Watching anime, reading manga : 25 years of essays and reviews Berkeley, Calif. : Stone Bridge Press, c2004.
MAIN: NC1766.J3 P37 2004; circ info
Table of contents http://www.loc.gov/catdir/toc/ecip0419/2004014856.html

Papp, Zilia.
Traditional monster imagery in manga, anime and Japanese cinema / Zília Papp. Folkestone, Kent, UK : Global Oriental, 2011.
Main (Gardner) Stacks New books NC1764.5.J3 P374 2011

Poitras, Gilles.
The anime companion: what's Japanese in Japanese animation? / Berkeley, Calif.: Stone Bridge Press, 1999.
UCB AsianAmer NC1766.J3 P65 1999
UCB East Asia NC1766.J3 P65 1999
UCB Main NC1766.J3 P65 1999

Poitras, Gilles.
Anime essentials: every thing a fan needs to know Berkeley, Calif.: Stone Bridge Press, c2001.
MAIN: NC1766.J3 P655 2001
East Asia: NC1766.J3 P65 1999
MAIN: NC1766.J3 P65 1999
AsianAmer NC1766.J3 P65 1999

Price, Shinobu.
"Cartoons from Another Planet: Japanese Animation as Cross-Cultural Communication." Journal of American & Comparative Cultures. 24 (1-2): 153-69. 2001 Spring-Summer.
UC users only

Silvio, Carl.
"Anime, Both Global and Local." Science Fiction Studies. 29 (3 [88]): 489-91. 2002 Nov

Solomon, Charles
"Anime Reboots to the Mainstream." Animation Magazine v. 17 no. 7 (August 2003) p. 16-18
UC users only
"Japanese animation, or anime, is influencing both live-action filmmaking and all of mass culture in the United States. The boom in anime DVDs and videos, as well as video games, is one indication of the growing popularity of what has become a general entertainment. This pervasiveness is confirmed by a visit to malls, where the art form is influencing not only what the stores are selling, but also what shoppers are wearing." [Art Index]

Sørensen, Lars-Martin.
"Animated animism - the global ways of Japan's national spirits." Northern Lights: Film & Media Studies Yearbook, 2008, Vol. 6 Issue 1, p181-196, 16p
UC users only

Sørensen, Lars-Martin.
"The Bestseller Recipe: A Natural Explanation of the Global Success of Anime." Post Script, WinterSpring2009, Vol. 28 Issue 2, p16-27, 12p
UC users only

Ueno, T.
"Techno-orientalism and media-tribalism: on Japanese animation and rave culture." Third Text no. 47 (Summer 1999) p. 95-106
"Part of a special issue on the global cultural impact of the new media. The writer raises and elaborates two concepts, Techno-Orientalism and Media-Tribalism. He defines Techno-Orientalism as the Orientalism of cybersociety and the information age, aimed at maintaining stable identity in a technological environment. He defines Media-Tribalism conceptually as a parallel process to, or a reverse side of, globalization. He elaborates these two notions by referring to two subcultural scenes: Japanimation, or Japanese animated cinema, and Rave culture, particularly Psychedelic Trance Techno. He concludes that it could be stated that techno-oriental subcultures such as Japanimation and trance musics, as with the gestures of many urban and media tribes, could be an ideological apparatus or trap, but at the same time, tactical consumption is already an option for everyone." [Art Index]

Wasylak, Katarzyna
"Need for Speed: Anime, the Cinematic, and the Philosophical." Children's Literature Association Quarterly, vol. 35, no. 4, pp. 427-434, 2010 Winter
UC users only

Korean Cinema

The cinema of Japan and Korea
Edited by Justin Bowyer. London : Wallflower, 2004.
MAIN: PN1993.5.J3 C56 2004;

Gibb, Michael; Jackson, Andrew
"The new cinematic language of South Korean film." In: How East Asian films are reshaping national identities : essays on the cinemas of China, Japan, South Korea, and Hong Kong /
Edited by Andrew David Jackson, Michael Gibb, and Dave White ; with a foreword by Hyangjin Lee. Lewiston, N.Y. : Edwin Mellen Press, c2006.
MAIN: PN1995.9.N353 H69 2006

A history of Korean cinema : from Liberation through the 1960s. Seoul : Korean Film Archive, 2005.Korean film history review vol. 1
PFA PN1993.5.K67.H57 2005
Introductory remarks -- The Korean film community and film movements during the post-Liberation era / Yi Hyo-In -- Korean films during the wartime / Jung Jong-Hwa -- 1950s Korean cinema / Yi Hyo-In -- 1960s Korean cinema / Yi Hyo-In -- Korean motion picture policy and industry in the 1960s and 1970s / Park Ji-Yeon. Pacific Film Archive collection; non-circulating.

The history of Korean cinema
Edited by Motion Picture Promotion Corporation; written by Lee Young-il, Choe Young-chol ; translated by Richard Lynn Greever. Seoul, Korea : Jimoondang Pub. Co., c1998.
PFA PN1993.5.K67.Y5313 1998

Hyo-In, Yi.
Korean new wave : retrospectives from 1980 to 1995 : the 1st Pusan International Film Festival Pusan] : Pusan International Film Festival, c1996.
PFA : PN1993.5.K67 H96 1996

Im Kwon-taek : the making of a Korean national cinema
Edited by David James and Kyung Hyun Kim. Detroit : Wayne State University Press, c2002.
MAIN: PN1998.3.I42 I47 2002
PFA : PN1998.3.I399 I47 2002

Kim, Kyung Hyun
The remasculinization of Korean cinema Durham : Duke University Press, 2004.
Table of contents http://www.loc.gov/catdir/toc/ecip047/2003016644.html
EAST: PN1993.5.K6 K524 2004
MAIN: PN1993.5.K6 K524 2004
PFA : PN1993.5.K67 K524 2004; View current status of this item

Lee, Hyangjin.
Contemporary Korean cinema : identity, culture, and politics Manchester, UK ; New York : Manchester University Press ; New York : Distributed exclusively in the USA by Palgrave, 2000.
MAIN: PN1993.5.K6 L44 2000
PFA: PN1993.5.K67 L44 2000

Leong, Anthony C. Y.
Korean cinema : the new Hong Kong : a guidebook for the latest Korean new wave Victoria, B.C. : Trafford, c2003.
PFA : PN1993.5.K67 L46 2003;

Min, Eungjun
Korean film : history, resistance, and democratic imagination Westport, Conn. : Praeger, 2003.
MAIN: PN1993.5.K6 M56 2003

New Korean cinema
Edited by Chi-Yun Shin and Julian Stringer. New York : New York University Press, 2005.
MAIN: PN1993.5.K6 N48 2005
Table of contents http://www.loc.gov/catdir/toc/ecip059/2005006942.html

Nohchool Park.
"The new waves at the margin: an historical overview of South Korean cinema movements 1975-84." Journal of Japanese & Korean Cinema, 2009, Vol. 1 Issue 1, p45-63, 19p
UC users only

Rayns, Tony.
Seoul stirring : 5 Korean directors London : Institute of Contemporary Arts, [1995?]
PFA : PN1993.5.K67 R39 1995

So-Young, Kim; Kim So-Young; Berry, Chris.
"'Suri suri masuri': the magic of the Korean horror film: a conversation." Postcolonial Studies, Apr2000, Vol. 3 Issue 1
UC users only

South Korean golden age melodrama : gender, genre, and national cinema
Edited by Kathleen McHugh and Nancy Abelmann. Detroit : Wayne State University Press, c2005.
MAIN: PN1993.5.K6 S68 2005; View current status of this item
Table of contents http://www.loc.gov/catdir/toc/ecip053/2004025723.html

Yi, Yong-il
The history of Korean cinema : main current of Korean cinema Seoul, Republic of Korea : Motion Picture Promotion Corp., 1988.
EAST: PN1993.5.K6 Y5313 1988;

Books and Articles About Individual Filmmakers and Films

Shohei Imamura

Casebier, Allan
"Images of Irrationality In Modern Japan: The Films of Shohei Imamura." Film Criticism; Fall83, Vol. 8 Issue 1, p42-49, 8p
UC users only

Richie, Donald.
"Imamura Revisited." Film Quarterly Sep 2009, Vol. 63, No. 1: 44-49.
UC users only

Sato, Tadao; Brij, Tankha (translator)
"The Pantheistic World of Shohei Imamura." Cinemaya: The Asian Film Quarterly, vol. 54-55, pp. 44-48, Winter 2002

Shohei Imamura
Edited by James Quandt. Toronto : Toronto International Film Festival Group, 1997.
Pacific Film Archive PN1998.3.I425 S5 1997

Tessier, Max
"Shohei Imamura: The True Entomologist of Modern Japan." Cinemaya: The Asian Film Quarterly, vol. 54-55, pp. 38-39, Winter 2002

The Ballad of Narayama (Narayama Bushiko)

Hung, Lee Wood.
"Natural culturalism in Narayamabushi-ko (The ballad of Narayama): a study of Shohei Imamura's thematic concerns." In: How East Asian films are reshaping national identities : essays on the cinemas of China, Japan, South Korea, and Hong Kong Edited by Andrew David Jackson, Michael Gibb, and Dave White ; with a foreword by Hyangjin Lee. Lewiston, N.Y. : Edwin Mellen Press, c2006.
MAIN: PN1995.9.N353 H69 2006

Wood-Hung Lee.
"Natural culturalism in "The Ballad of Narayama": a study of Shohei Imamura's thematic concerns." Asian Cinema, 2003, Vol. 14 Issue 1, p146-166, 21p

Wood-Hung Lee; Yomei Shaw.
"Revisiting the Tale of Obasute in the Japanese Imagination." Asian Cinema; Spring/Summer2009, Vol. 20 Issue 1, p98-126, 29p

Black Rain (Kuroi Ame)

Tachibana, Reiko:
"Seeing between the lines: Imamura Shohei's Kuroi Ame (Black Rain)" Literature/Film Quarterly (26:4) 1998:4 , 304-312
UC users only

Vengeance is Mine

Cavanaugh, C.
"A working ideology for Hiroshima: Imamura Shohei's Black rain." In: Word and image in Japanese cinema / edited by Dennis Washburn, Carole Cavanaugh. Cambridge ; New York : Cambridge University Press, 2001.
Main (Gardner) Stacks PN1993.5.J3 W67 2001

Phillips, Alastair.
"Unsettled Visions: Imamura Shohei's Vengeance is Mine." In: Japanese cinema : texts and contexts / edited by Alastair Phillips and Julian Stringer. London ; New York : Routledge, 2007.
Main (Gardner) Stacks PN1993.5.J3 J27 2007 DUE 10-14-10
Moffitt PN1993.5.J3 J27 2007

Washburn, D. C.
"The arrest of time: the mythic transgressions of Vengeance is mine." In: Word and image in Japanese cinema / edited by Dennis Washburn, Carole Cavanaugh. Cambridge ; New York : Cambridge University Press, 2001.
Main (Gardner) Stacks PN1993.5.J3 W67 2001

Satoshi Kon

Anime bibliography

Gardner, William O.
"The Cyber Sublime and the Virtual Mirror: Information and Media in the Works 0f Oshii Mamoru and Kon Satoshi." Canadian Journal of Film Studies; Spring2009, Vol. 18 Issue 1, p44-70, 27p
UC users only

Mes, Tom.
"Requiem for a Dream: the Films of Satoshi Kon Bring the Depths of the Subconscious into Bright Anime Light." Film Comment, Mar/Apr2007, Vol. 43 Issue 2, p46-48, 3p
UC users only

Millennium Actress

Mes, Tom.
"Requiem for a Dream: the Films of Satoshi Kon Bring the Depths of the Subconscious into Bright Anime Light." Film Comment, Mar/Apr2007, Vol. 43 Issue 2, p46-48, 3p
UC users only

Ogg, Kerin
"Lucid Dreams, False Awakenings: Figures of the Fan in Kon Satoshi." Mechademia Volume 5, 2010
UC users only

Ortabasi, Melek.
"Indexing the Past: Visual Language and Translatability in Kon Satoshi's Millennium Actress" Perspectives: Studies in Translatology, 2006, Vol. 14 Issue 4, p278-291, 14p
UC users only

Ortabasi, Melek
"National History as Otaku Fantasy: Satoshi Kon's Millennium Actress." In: Japanese visual culture : explorations in the world of manga and anime / edited by Mark W. MacWilliams ; foreword by Frederik L. Schodt. Armonk, N.Y. : M.E. Sharpe, c2008.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks NC1764.5.J3 J37 2008

Paprika

Gardner, William O.
"The Cyber Sublime and the Virtual Mirror: Information and Media in the Works 0f Oshii Mamoru and Kon Satoshi." Canadian Journal of Film Studies; Spring2009, Vol. 18 Issue 1, p44-70, 27p
UC users only

Mes, Tom.
"Requiem for a Dream: the Films of Satoshi Kon Bring the Depths of the Subconscious into Bright Anime Light." Film Comment, Mar/Apr2007, Vol. 43 Issue 2, p46-48, 3p
UC users only

Perfect Blue

Dauphin, Gary.
"Perfect Blue / On the Ropes." The Village Voice, New York; Aug 24, 1999; Vol. 44, Iss. 33; pg. 122, 1 pgs
UC users only

Gates, Anita
"This cartoon didn't come from Disney." (movie review) The New York Times August 20, 1999 pB20(N) pE20(L) col 4 (15 col in)

Harvey, Dennis;
"Perfect Blue" (review) Variety, Nov 1-7, 1999; Vol. 376, Iss. 11; pg. 88

Romney, Jonathan. "Perfect Blue" (review) Sight and Sound August 1999 v9 i8 p50(1)

Tokyo Godfathers

Diffrient, David Scott.
"From Three Godfathers to Tokyo Godfathers: Signifying Social Change in a Transnational Context." In: East Asian cinemas : exploring transnational connections on film / edited by Leon Hunt and Leung Win London : New York : I.B. Tauris, 2008.
Full-text available online [UC Berkeley users only]
Main (Gardner) Stacks PN1993.5.E19 E27 2008)

Duralde, Alonso.
"Who's your daddy? Anime feature Tokyo Godfathers puts a fresh spin on the old trio-adopts-a-foundling story.(Movie Review)." The Advocate (Feb 3, 2004): 52(2).
UC users only
Garger, Ilya. "True Grit: Maverick animator SATOSHI KON'S cartoons for grownups depict the seedy underbelly of Japanese life." Time International (Asia Edition) 162.21 (Dec 1, 2003): 62.

Mes, Tom.
"Requiem for a Dream: the Films of Satoshi Kon Bring the Depths of the Subconscious into Bright Anime Light." Film Comment, Mar/Apr2007, Vol. 43 Issue 2, p46-48, 3p
UC users only

Zahed, R.
"Tokyo Godfathers: An Offer You Can't Refuse." Animation Magazine v. 18 no. 2 (February 2004) p. 26
UC users only

Akira Kurosawa

Takashi Miike

Balsomico, Steven A.

Buckler, Louise
"The films of Takashi Miike: an exploration of violence and sadomasochism within his narratives." BA dissertation, University of Portsmouth. (2008)

Desjardins, Chris.
"Takashi Miike" In: Outlaw masters of Japanese film / Chris D. Chris D. London ; New York : I.B. Tauris, 2005.
Full text available online [UC Berkeley users only]
Main (Gardner) Stacks; PFA PN1993.5.J3 D45 2005

Dew, Oliver.
"Asia Extreme’: Japanese cinema and British hype." New Cinemas: Journal of Contemporary Film, 2007, Vol. 5 Issue 1, p53-73, 21p
UC users only

Gerow, Aaron.
"The Homelessness of Style and the Problems of Studying Miike Takashi." Canadian Journal of Film Studies, Spring2009, Vol. 18 Issue 1, p24-43, 20p
UC users only

Hallam, Lindsay.
""100&percent; Sadist": Violence Is Sex in Takashi Miike's Ichi the Killer." Asian Cinema, Fall/Winter2009, Vol. 20 Issue 2, p206-216, 11p

Hyland, Robert
"A Politics of Excess : Violence and Violation in Miike Takashi's Audition." In: Horror to the extreme : changing boundaries in Asian cinema / edited by Jinhee Choi and Mitsuyo Wada-Marciano. Hong Kong : Hong Kong University Press ; London : Eurospan [distributor], c2009.
Main (Gardner) Stacks PN1995.9.H6 H757 2009

Karatsu, Rie.
"After the Wave: Sex, Violence, and Comedy in the Films of Takashi Miike." Asian Cinema, Spring/Summer2007, Vol. 18 Issue 1, p23-42, 20p

Kinnia Yau Shuk-ting.
"Psychological, Cultural, and Social Perspectives for Understanding the Representation of Women in Miike Takashi's Box." Asian Cinema, Spring/Summer2009, Vol. 20 Issue 1, p203-218, 16p

Mitchell, Kylan
"Sifting Through Blood: Grotesquery as Culture in Post-WWII Japanese Cinema." Kino: The Western Undergraduate Journal of Film Studies Volume 2 | Issue 1, May 2011

Rawle, Steven.
"From The Black Society to The Isle: Miike Takashi and Kim Ki-Duk at the intersection of Asia Extreme." Journal of Japanese & Korean Cinema, 2009, Vol. 1 Issue 2, p167-184, 18p
UC users only

Stadler, Jane
"Cultural value and viscerality in Sukiyaki Western Django: Towards a phenomenology of bad film." Continuum: Journal of Media & Cultural Studies; Oct2010, Vol. 24 Issue 5, p679-691, 13p
UC users only

Takashi, Miike.
"The break-up of the national body: Cosmetic multiculturalism and films of Miike Takashi" New Cinemas: Journal of Contemporary Film, 2004, Vol. 2 Issue 1, p29-39, 11p
UC users only

Williams, Tony.
"Takashi Miike's cinema of outrage." CineAction. .64 (Spring 2004) p54.
UC users only

Williams, Tony.
"Izo: Takashi Miike's History Lesson." Asian Cinema, Fall/Winter2005, Vol. 16 Issue 2, p85-109, 25p

Williams, Tony.
"Takashi Miike's The Great Yokai War." Asian Cinema, Fall/Winter2007, Vol. 18 Issue 2, p232-242, 11p

Wood, Robin
"'Revenge Is Sweet': The Bitterness of Audition." Film International, vol. 2, no. 1, pp. 22-27, 2004

Hayao Miyazaki

Anime bibliography

Bellano, Marco.
"The Parts and the Whole: Audiovisual Strategies in The Cinema of Hayao Miyazaki and Joe Hisaishi." Animation Journal, 2010, Vol. 18, p4-54, 51p
UC users only

Canemaker, J.
"Un Disney." Print (New York, N.Y.) v. 54 no. 3 (May/June 2000) p. 94-9
UC users only
"Some recent long-form Japanese anime projects may be seen as influences in dragging American feature animation out of the for-children-only category. Much anime, the comix-derived Japanese animated films, is directed toward a children's audience, but some films are more adult-oriented and artistically varied than their American counterparts. Princess Mononoke, for example, directed by Hayao Miyazaki, is not for children, being too dark, violent, lengthy, and subtle, and lacking such characters as dastardly villains or saintly heroes. It is to be hoped that admiration for Miyazaki's work in the United States will eventually change both the form and content of American feature-length cartoons." [Art Index]

Cavallaro, Dani.
The anime art of Hayao Miyazaki Jefferson, N.C. : McFarland & Co., c2006.
MOFF: PN1998.3.M577 C38 2006
Table of contents http://www.loc.gov/catdir/toc/ecip064/2005035065.html

Chute, David.
"Organic Machine: The World of Hayao Miyazaki." Film Comment Nov 1998 p62(1)
A profile of filmmaker and animator Hayao Miyazaki is presented along with some techniques employed in animating movies. The artist uses hand-drawn frames as opposed to computer-generated images. The films are due to be released by Disney and its subsidiary Miramax. Some of the artist's movies include `Princess Mononoke', `Whisper of the Heart' and `Only Yesterday'.

Clarke, Roger.
"Final fantasy.(professional life of movie director Hayao Miyazaki)(Biography)." Sight and Sound 15.10 (Oct 2005): 31(2).

da Silva, Matthew
"Miyazaki and Japan." (... the work of animation artist Miyazaki Hayao is of interest to adult and child alike)(Letter to the Editor) Quadrant Jan-Feb 2004 v48 i1-2 p7(2) (651 words)

Goulding, Jay
"Crossroads of Experience: Miyazaki Hayao's Global/Local Nexus." Asian Cinema, vol. 17, no. 2, pp. 114-23, 2006 Fall-Winter

Grant, John
Masters of animation New York, NY : Watson-Guptill, 2001.
Main Stack TR897.5.G73 2001
Contents: Tex Avery -- Frederic Back -- Ralph Bakshi -- Raoul Barre -- Don Bluth -- Bruno Bozzetto -- John Randolph Bray -- John Canemaker -- Bob Clampett -- Walt Disney -- George Dunning -- The Fleischers -- Friz Freleng -- Terry Gilliam -- Paul Grimault -- Halas & Batchelor -- Hanna & Barbera -- Harman & Ising -- Jim Henson -- John Hubley -- Ub Iwerks -- Chuck Jones -- Rene Laloux -- Walter Lantz -- Winsor McCay -- Robert McKimson -- Norman McLaren -- Otto Messmer -- Hayao Miyazaki -- Nick Park -- Bill Plympton -- Lotte Reiniger -- Jan Svankmajer -- Paul Terry -- Vladimir "Bill" Tytla -- Will Vinton -- Richard Williams.

Lee, Stan
"Hayao Miyazaki." Time. Apr 18, 2005. Vol. 165, Iss. 16; p. 123 (1 page)

Looser, Thomas
"From Edogawa to Miyazaki: cinematic and anime-ic architectures of early and late twentieth-century Japan." Japan Forum, Volume 14, Number 2, 1 September 2002 , pp. 297-327(31) DD>UC users only ">UC users only

Mayumi, Kozo; Solomon, Barry D.; Chang, Jason.
"The ecological and consumption themes of the films of Hayao Miyazaki." Ecological Economics, Jul2005, Vol. 54 Issue 1, p1-7, 7p;

McCarthy, Helen
Hayao Miyazaki: master of Japanese animation: films, themes, artistry Berkeley, Calif.: Stone Bridge Press, c1999.
MAIN: NC1766.J32 M5786 1999

"Miyazaki, Hayao.(animated film director)." Current Biography 62.4 (April 2001): 38(8).

Napier, Susan J.
"Confronting Master Narratives: History as Vision in Miyazaki Hayao's Cinema of De-Assurance." Positions: East Asia Cultures Critique, vol. 9, no. 2, pp. 467-93, Fall 2001.
UC users only

Odell, Colin.
Studio Ghibli : the films of Hayao Miyazaki and Isao Takahata / Colin Odell & Michelle Le Blanc. Harpenden : Kamera, 2009.
Main (Gardner) Stacks NC1766.J32 S884 2009

Osmond, Andrew.
"Castles in the Sky." Sight & Sound v. ns15 no. 10 (October 2005) p. 28-31
"Veteran Japanese animator Hayao Miyazaki's latest movie Howl's Moving Castle draws on motifs from his past work and anime's deep longterm interest in children's literature. Miyazaki's ninth film is loosely adapted from a children's novel, Howl's Moving Castle (1986) by Diana Wynne Jones, who has been writing fantasy since the 1970s." [Art Index]

Schilling, Mark
"Miyazaki Hayao and Studio Ghibli, the animation hit factory." (Japanese animator) Japan Quarterly Jan-March 1997 v44 n1 p30(9)
"Japanese animation duo Miyazaki Hayao and Takahata Isao continue to create animated films that edge out Walt Disney Studio at the Japanese box office. They established Studio Ghibli whose films turned out to be box office hits. This prompted Disney Studios to link with Studio Ghibli in the global distribution of the latter's titles. Despite their differences in theme and approach, Miyazaki and Takahata share the same passion for realism." [Expanded Academic Index]

Talbot, Margaret and Cappello, Daniel
"The Animated Life." The New Yorker Jan. 17, 2005
Margaret Talbot writes about the Japanese animator Hayao Miyazaki, the writer and director of such films as "Spirited Away." Here, with The New Yorker’s Daniel Cappello, Talbot discusses Miyazaki's films, his influences, and his temperament.

Talbot, Margaret.
"The Auteur of Anime: A Visit with the Elusive Hayao Miyazaki." New Yorker, vol. 80, no. 43, pp. 64-75, Winter 2005.

Thomas, Lamarre.
"From animation to anime: drawing movements and moving drawings." Japan Forum 14.2 (Sept 1, 2002): 329(39).
UC users only
"This essay deals with two kinds of movement common in cel animation: 'drawing movements' and 'moving drawings'. Drawing movements is common in traditional cel animation that strives for full animation. The latter - moving drawings - becomes pronounced in techniques of limited animation, common in anime. The goal is not, however, to identify and consolidate differences between animation and anime. On the contrary, this paper explores how drawing movements entails a decoding of live-action cinema,which is intensified in the techniques of moving drawings that are prevalent in anime. Thus, anime is seen as a part of movement away from one kind of cinematic experience, towards something like new media and information. The goal of the essay is to think across media, to explore the ways in which different movements have an impact on narrative, genre and spectatorship. Miyazaki Hayao's Tenkuno shiro Raputa (Castle in the sky) (Studio Ghibli, 1986) provides a site for analysis of the ways in which anime technique generates and exploits potentials such as flatness, jitter and weightlessness. Miyazaki's emphasis on floating and gliding presents one way to deal with 'anime-ic' potentials - one that has definite consequences for the imagination of gender, history and nature, as well as the anime-ic experience of information." [Expanded Academic Index]

Wells, P. Hayao
"Miyazaki: floating worlds, floating signifiers." [moral messages in Miyazaki's anime films]. Art & Design v. 12 (March/April 1997) p. 22-5
"Part of a special issue on animation. Animator Hayao Miyazaki mobilizes such diverse styles as Garden Art, with its Zen Buddhist principles; Disney's narrational strategies and hyperrealist features; and cinematic codes such as the action sequences of Kurosawa. This use of many styles remains consistent and ultimately informs a typology of theme and execution, especially as it is seen to work within the Japanese context, where cultural forms and artistic styles do not usurp or replace that which has gone before but coexist simultaneously. He reconciles these diversions and this textual eclecticism by the use of resonant symbolic moments that become the locus for narrational emphasis and the nexus of spiritual and philosophic ideas that, in the spirit of the cinema director Ozu specifically and of Japanese graphic arts generally, provoke moments of spiritual revelation and contemplation. Such transcendental moments emphasize the enduring resource of nature against humankind's self-destructive impulses through the presence of the atomic bomb versus such tropes as the innocence of children and the miraculous capability of flight possessed by some of his characters." [Art Index]

Wright, Lucy, and Jerry Clode.
"The animated worlds of Hayao Miyazaki: filmic representations of Shinto." Metro Magazine 143 (Wntr 2005): 46(6).

Howl's Moving Castle

Bradshaw, Nick.
"Howl's Moving Castle.(Movie Review)." Sight and Sound 15.10 (Oct 2005): 66(1).

Burkam, Anita L.
"Hayao Miyazaki's Howl's Moving Castle.(From Page to Screen)(Movie Review)." The Horn Book Magazine 81.5 (Sept-Oct 2005): 553(5).

Corliss, Richard.
"For Children of All Ages: Three new kids' movies try to appeal to young and old. But you can't always have it both ways.(Arts/Movies)(Review)(Madagascar)(Sharkboy)(Moving Castle)(Movie Review)." Time 165.24 (June 13, 2005): 53.

Lyttle, John.
"Kind of magic: an anime wizard in fabulous drop earrings? How improving.(Howl's Moving Castle)(film)(Movie Review)." New Statesman (1996) 134.4760 (Oct 3, 2005): 46(1).

"A 'Positive Pessimist'; Japan's animation titan Hayao Miyazaki returns with another marvel, 'Howl's Moving Castle.' This time he's ready to talk.(Interview)." Newsweek (June 20, 2005): 62.

Tucker, Ken.
"Quiet riot: The lovely Howl's Moving Castle rises above its shrieking, lowbrow kiddie-cartoon competitors.(Howl's Moving Castle)(Movie Review)." New York 38.22 (June 20, 2005): 69(1).

Nausicaa

Osmond, Andrew
"Nausicaa and the Fantasy of Hayao Miyazaki." Foundation: The International Review of Science Fiction, vol. 72, pp. 57-80, Spring 1998.

Porco Rosso

Drazen, Patrick
"Sex and the Single Pig: Desire and Flight in Porco Rosso." In: Mechademia. 2, Networks of desire / Frenchy Lunning, editor. Minneapolis, Minn. : University of Minnesota Press, c2007.
Full-text available online (UC Berkeley users only)

Moist, K. M.; Bartholow, M.
"When pigs fly: Anime, auteurism, and Miyazaki’s Porco Rosso." Animation , 2007, Vol. 2 Issue 1, p27-42, 16p
UC users only

Wood, Chris.
"The European Fantasy Space and Identity Construction in Porco Rosso." Post Script, Winterspring2009, Vol. 28 Issue 2, P112-120, 9p
UC users only

Princess Mononoke

"Amazing Anime: Princess Mononoke and other wildly imaginative films prove that Japanese animation is more than just Pokemon." (The Arts/Arts) Time Nov 22, 1999 v154 i21 p94+

Ansen. David.
"Princess Mononoke" (review) Newsweek Nov 1, 1999 v134 i18 p87 (288 words)

Aoun, Steven.
"Film of the quarter: Princess Mononoke." (Video Recording Review) Metro Magazine Wntr 2005 i143 p171(2) (1039 words)

Brooke, James
"A wizard of animation has Japan under his spell." (Hayao Miyazaki)(International Pages) The New York Times Jan 3, 2002 pA4(N) pA4(L) col 3 (25 col in)

Butler, Steven
"Blood and guts in ancient Japan: animated animals." (hit film 'Princess Mononke breaks all-time boxoffice records in Japan)(Brief Article) U.S. News & World Report Oct 6, 1997 v123 n13 p82(1)

Chute, David
"Organic Machine: The World of Hayao Miyazaki." Film Comment Nov 1998 p62(1)
UC users only
"A profile of filmmaker and animator Hayao Miyazaki is presented along with some techniques employed in animating movies. The artist uses hand-drawn frames as opposed to computer-generated images. The films are due to be released by Disney and its subsidiary Miramax. Some of the artist's movies include `Princess Mononoke', `Whisper of the Heart' and `Only Yesterday'." [Expanded Academic Index]

Denison, Rayna
"The language of the blockbuster : promotion, Princess Mononoke and the Daihitto in Japanese film culture." In: East Asian cinemas : exploring transnational connections on film / edited by Leon Hunt and Leung Wing-Fai. London : New York : I.B. Tauris, 2008.
Main Stack PN1993.5.E19.E27 2008

Hoff Kraemer, Christine
"Between the Worlds: Liminality and Self-Sacrifice in Princess Mononoke." Journal of Religion and Film, vol. 8, no. 1, pp. [no pagination], Spring 2004.

Klady, Leonard
"Princess Mononoke." (movie reviews) Variety Feb 2, 1998 v369 n12 p28(1)

Lyman, Rick
"Darkly mythic world arrives from Japan." (filmmaker Hayao Miyazaki disscusses his animate film 'Princess Mononoke')(Living Arts Pages) The New York Times Oct 21, 1999 pB1(N) pE1(L) col 1 (35 col in)

Morris, Holly J.
"Beyond Mickey." (Review)_(movie reviews) U.S. News & World Report Oct 25, 1999 v127 i16 p70 (272 words)

Napier, Susan Jolliffe.
"Princess Mononoke: Fantasy, the Feminine, and the Myth of 'Progress'." In: Anime from Akira to Princess Mononoke: experiencing contemporary Japanese animation New York: Palgrave, 2001.
MAIN: NC1766.J3 N37 2001

Nichols, Peter M.
"Boars, brides and violinists in significant numbers." (Princess Mononoke)(movie review) The New York Times Nov 12, 1999 s0 pB9(N) pE9(L) col 1 (15 col in)

Tucker, Ken
"Cute characters, lots of action, but no comic relief." (Hayao Miyazaki's new animated film 'Princess Mononoke')(The New Season/Film) The New York Times Sept 12, 1999 pAR46(N) pAR46(L) col 3 (35 col in)

Spirited Away

Alter, Ethan
"Spirited Away." (Movie Review) Film Journal International Oct 2002 v105 i10 p79(2) (837 words) Alter.
UC users only

Boyd, James W., Nishimura, Tetsuya.
"Shinto Perspectives in Miyazaki's Anime Film 'Spirited Away'." Journal of Religion and Film. 8 (2): [no pagination]. 2004 Oct.

Denison, Rayna
"The Global Markets for Anime: Miyazaki Hayao's Spirited Away (2001)." In: Japanese cinema : texts and contexts / edited by Alastair Phillips and Julian Stringer. London ; New York : Routledge, 2007.
Main (Gardner) Stacks PN1993.5.J3 J27 2007 DUE 10-14-10
Moffitt PN1993.5.J3 J27 2007

Geortz Dee
"The hero with the thousand-and-first face: Miyazaki's girl quester in Spirited away and Campbell's Monomyth." In: Millennial mythmaking : essays on the power of science fiction and fantasy literature, films and games / edited by John Perlich and David Whitt. Jefferson, N.C. : McFarland & Co., c2010.
Moffitt PN1995.9.F36 M56 2010
Pacific Film Archive PN1995.9.F36 M56 2010

Harris, Timothy
"Seized by the gods." (Film)(Spirited Away)(Movie Review) Quadrant Sept 2003 v47 i9 p64(4) (2709 words)

Mitchell, Elvis
"Conjuring up atmosphere only anime can deliver." (Spirited Away)_(movie review) The New York Times Sept 20, 2002 pB10(N) pE11(L) col 5 (18 col in)

Napier, Susan J.
"Matter Out of Place: Carnival, Containment, and Cultural Recovery in Miyazaki's Spirited Away." Journal of Japanese Studies, Summer2006, Vol. 32 Issue 2, p287-310, 24p
UC users only

Reider, Noriko T.
"Spirited Away: film of the fantastic and evolving Japanese folk symbols.(Critical Essay)." Film Criticism 29.3 (Spring 2005): 4(24).
UC users only

Satoshi, Ando
"Regaining Continuity with the Past: Spirited Away and Alice's Adventures in Wonderland." Bookbird. 2008. Vol. 46, Iss. 1; p. 23 (8 pages)
UC users only

"Spirited Away". Sight & Sound, Sep2003, Vol. 13 Issue 9, p64-64, 3/4p

Stranieri, Vyvyan, and Christine Evely.
"Spirited Away: a film by Hayao Miyazaki.(Study Guide)." Australian Screen Education 34 (Spring 2004): 57(11).

Thrupkaew, Noy
"Animation sensation: why Japan's magical Spirited Away plays well anywhere." (The Critics Film) The American Prospect Oct 21, 2002 v13 i19 p32(2) (1257 words)

Yang, A.
The Two Japans of 'Spirited Away'." International Journal of Comic Art v. 12 no. 1 (Spring 2010) p. 435-52
UC users only

Yoshioka, Shiro
"Heart of Japaneseness: History and Nostalgia in Hayao Miyazaki's Spirited Away." In: Japanese visual culture : explorations in the world of manga and anime / edited by Mark W. MacWilliams ; foreword by Frederik L. Schodt. Armonk, N.Y. : M.E. Sharpe, c2008.
Full-text available online (UC Berkeley users only)
Main (Gardner) Stacks NC1764.5.J3 J37 2008

Kenji Mizoguchi

Andrew, James Dudley
Kenji Mizoguchi: a guide to references and resources / Dudley Andrew and Paul Andrew. Boston, Mass.: G.K. Hall, c1981. Series title: A Reference publication in film.
UCB Main PN1998.A3 .M489
UCB Moffitt PN1998.A3 .M489

Andrew, Dudley.
"Ways of Seeing Japanese Prints and Films: Mizoguchi's Utamaro." In: Cinematic landscapes: observations on the visual arts and cinema of China and Japan / edited by Linda C. Ehrlich, et al., pp: 217-40. 1st ed. Austin, Tex.: University of Texas Press, 1994.
Moffitt N72.M6.C55 1994
Chinese Stdy PN1993.5.C4.C55 1994

Anger, Cédric; Darrieussecq, Marie
"A la manière de Mizoguchi." Cahiers du Cinéma; nr.525 (June 1998); p.60-65
A look at the work of Kenji Mizoguchi on the occasion of a retrospective held at the Cinémathèque Française. Incl. a study of the presence of ghosts in "Ugestsu monogatari".

Barr, S.H..
"Reframing Mizoguchi." Film Criticism; Vol.VIII nr.1 (Fall 1983); p.79-85
UC users only
The author examines how Japanese director Kenji Mizoguchi uses camera on his films in order to work out problems of narration and point of view. He focuses on the film "Miss Oyu," directed by Mizoguchi, by exploring the camera movement familiar to critics. The camera movement in the film provides an important paradigm in a study which avoids positioning the film in one critical camp or another. In this film, Mizoguchi eliminates the interior narrators and inscribes camera movement in order to shift the orientation of the narrative.

Belton, John
"Crucified lovers of Mizoguchi." Film Quarterly v 25 Fall 1971. p. 15-19

Bonitzer, Pascal
"Violence et latéralité." Cahiers du Cinéma; nr.319 (Jan 1981); p.27-34
On the aesthetic of Mizoguchi's films and his relationship with classical Japanese drama, the role of eroticism in his films and his treatment of violence.

Bordwell, David.
"Mizoguchi and the Evolution of Film Language." In: Cinema and language / edited by Stephen Heath and Patricia Mellencamp. pp: 107-117. Frederick, MD: University Publications of America, c1983. American Film Institute monograph series; v. 1
Main Stack PN1995.C4863 1983

Burdeau, Emmanuel; others
"Mizoguchi encore." Cahiers du Cinéma; nr.504 (July-Aug 1996); p.64-75
Suggests six reasons for appreciating the work of K.M., followed by reviews of 18 of his films.

Chiharu, Mukudai.
"History in Film Style: On Absent Cause in Mizoguchi Films from the 1950s." Review of Japanese Culture & Society. 10:35-45. 1998 Dec. 100-0014, Japan

DISSERTATION
Cohen, Robert Neil
Textual poetics in the films of Kenji Mizoguchi: a structural semiotics of Japanese narrative / by Robert Neil Cohen. 1983.
UCB Main LD791.9.T3 C66 1983a pt. 1-2 (1983)

Cohen, Robert Neil
"Mizoguchi and Modernism." Sight & Sound; Vol.XLVII nr.2 (Spring 1978); p.110-18
An examination of the structure, culture and point of view of Mizoguchi's films.

Dalle Vacche, Angela
"Film between woodblock printing and tattooing. Kenji Mizoguchi's Five women around Utamaro." East-West Film Journal; Vol.VIII nr.1 (Jan 1994); p.24-51
Discusses K.M.'s attitudes to art and society, the past and the future in "Utamaro o meguru gonin no onna". Suggests an affinity between K.M. and the artist Utamoro in their approach to their work and in their relationships with women.

Douchet, Jean; others
"Traverses Mizoguchi." Cahiers du Cinéma; nr.463 (Jan 1993); p.24-33
Dedicated to the Japanese director Kenji Mizoguchi. Incl. an article commenting on the contemporary nature of his depiction of women and sexual attraction; an essay reprinted from 1951 in which the director reflects on events in his 30 years of filmmaking; plus tributes from sound engineer Iwao Otani and producer Akinari Suzuki.

Ehrlich, Linda C.
"The artist's desire: reflections on the films of Mizoguchi Kenji." East-West Film Journal; Vol.IV nr.2 (June 1990); p.1-13
Notes the frequent depiction of artists in Mizoguchi's films, and the journeys - both geographic and psychological - they are compelled to undergo.

Gallagher, Tag
"Mizoguchi and freedom." Screening the Past: An International Electronic Journal of Visual Media and History Issue 13, 2001

Jackson, Jean-Pierre.
Les Contes de la lune vague apres la pluie: Kenji Mizoguchi: etude critique / de Jean-Pierre Jackson. Paris: Nathan, c1998. Series title: Synopsis (Paris, France); 33.
UCB Main PN1998.3.M58 C634 1998

Jacoby, Alexander.
"Artist of the floating world." Sight & Sound, Apr2008, Vol. 18 Issue 4, p38-41, 4p,
UC users only
The article describes the technique and approach of filmmaker and screenwriter Mizoguchi Kenji. Kenji directed his first film in 1923 and had worked prolifically throughout the silent era. Most of his films deal with the cultural situation in Japan, including "Sansho Dayu" and "Ugetsu Monogatari." The author noted that Kenji's films, which focused on tragic stories of delusion, suffering and injustice, were well received in the west.

Kinoshita, Chika
""Choreography of desire: analysing Kinuyo Tanaka's acting in Mizoguchi's films." Screening the Past: An International Electronic Journal of Visual Media and History Issue 13, 2001
"It has been pointed out that Kenji Mizoguchi's style underwent a gradual shift from the rigorous use of long-takes and deep-focus of his pre-war films to fluid camera movements and smooth decoupage in the 1950s. This essay retraces this shift of the auteur's style, at the same time seeking to augment possible readings by shedding light on collaborators: cinematographers Kazuo Miyagawa and Miki Shigeto, and particularly actress Kinuyo Tanaka. Properties of Tanaka's acting, such as her gestures, way of walking and avoidance of eye contact, contributed to Mizoguchi's creation of a "choreography of desire". This refers to a pattern of mise en scene that enacts the dynamic tensions between desiring and desired, dominator and subordinated. Close analyses of the seducation scenes from three Mizoguchi-Tanaka collaborations, The love of Sumako the actress(Japan 1948), Miss Oyu(Japan 1951), and The life of Oharu(Japan 1951), elucidate how they produce a filmic space charged with power relations." [Author's abstract]

Kirihara, Donald
"L'assimilation Mizoguchi/Utamaro est évidente. Five women around Utamaro and the U.S. occupation of Japan." East-West Film Journal; SO: Vol.VIII nr.1 (Jan 1994); p.3-23
Examines the effect of the post-war US occupation on "Utamaro o meguru gonin no onna", and compares this film with K.M.'s earlier work.Kirihara,

Kirihara, Don.
"Kabuki, Cinema, and Mizoguchi Kenji." In: Cinema and language / edited by Stephen Heath and Patricia Mellencamp. pp: 97-106. Frederick, MD: University Publications of America, c1983. American Film Institute monograph series; v. 1
Main Stack PN1995.C4863 1983

Kirihara, Donald.
Patterns of time: Mizoguchi and the 1930s / Donald Kirihara. Madison, Wis.: University of Wisconsin Press, c1992. Series title: Wisconsin studies in film.
UCB Main PN1998.3.M58 K5 1992

Le Fanu, Mark.
Mizoguchi and Japan London : BFI Publishing, 2005.
Main Stack PN1993.5.J3.M47 2005
PFA : PN1998.3.M58 L4 2005

Le Fanu, Mark
"Mizoguchi: The Great Triptych." The Cambridge Quarterly. 26(4):289-313. 1997.

Le Fanu, Mark
"Autour de Mizoguchi." Positif; SO: nr.388 (June 1993); p.80-83
Reflections on the work of the Japanese director.

Leach, Jim
"Mizoguchi and ideology." Film Criticism; Vol.VIII nr.1 (Fall 1983); p.66-78
UC users only
Analyses charges of ideological opportunism against Mizoguchi in terms of his "Waga koi wa moenu" and "Genroku chushingura".

Legrand, Gérard; Masson, Alain; Niogret, Hubert
"(Kenji Mizoguchi)." Positif; nr.212 (Nov 1978); p.22-25

Masson, Alain
"Revers de la quiétude (sur quatre films de Mizoguchi)." Positif; nr.212 (Nov 1978); p.26-36
A comparative study of four films by Mizoguchi: 'Saikaku ichidai onna', 'Chikamatsu monogatari', 'Ugetsu monogatari', and 'Shin heike monogatari'.

McDonald, Keiko I.
Mizoguchi / Keiko McDonald. Boston: Twayne Publishers, 1984. Series title: Twayne's filmmakers series.
UCB Main PN1998.A3 M4898 1984

Mesnil, Michel.
Mizoguchi Kenji. Presentation par Michel Mesnil. Choix de textes et propos de Mizoguchi, extraits de scenarios, panorama critique, temoignages, filmographie, bibliographie, documents iconographiques. [Paris] Editions Seghers [1965]. Series title: Cinema d'aujourd'hui 31.
NRLF

Mesnil, Michel.
Mizoguchi Kenji, presentation par Michel Mesnil. Choix de textes et propos de Mizoguchi, extraits de scenario ... filmographie. Nouvelle edition remaniee. [Paris,] Seghers, 1971. Series title: Cinema d'aujourd'hui 31.
NRLF $D 60 044

Morris, Gary
"The Spirit Moves: The World of Kenji Mizoguchi." Bright Lights; issue 22

Niogret, Hubert
"Mizoguchi: un art sans artifice." Positif; nr.237 (Dec 1980); p.13-16
An appreciation of some of K.M.'s films on the occasion of a retrospective.

Russell, Catherine
"'Overcoming modernity': gender and the pathos of history in Japanese film melodrama." Camera Obscura; nr.35 (May 1995); p.130-157
UCB Users Only
Approaches to Japanese melodrama are explored through three films ("Shinju ten no amijima", "Naniwa ereji naniwa hika", "Kohayagawa-ke no aki"), paying particular attention to the depiction of women.

Russell, Catherine.
"Kenji Mizoguchi and his women" In: Classical Japanese cinema revisited / by Catherine Russell. New York : Continuum, c2011.
Main (Gardner) Stacks PN1993.5.J3 R87 2011

Sato, Tadao; Andrew, Dudley
"On Kenji Mizoguchi." Film Criticism; SO: Vol.IV nr.3 (Spring 1980); p.2-16
Discusses the cultural and critical context of K.M.'s work.

Ve-Ho.
Kenji Mizoguchi [par] Ve-Ho. Adaptation francaise en collaboration avec Philippe Esnault. Paris, Classiques du cinema [c1963].
UCB Main PN1993 .C5 v.14

Wood, Robin
"Mizoguchi. The ghost princess and the seaweed gatherer." Film Comment; Vol.IX nr.2 (Mar-Apr 1973); p.32-40
An attempt to define the art of K.M., based on an analysis of two of his films and by comparison to the films of Ozu.

Osaka Elegy (Naniwa ereji)

McDonald, Keiko I.
"Form and function in Osaka elegy." Film Criticism; Vol.VI nr.2 (Winter 1982); p.35-44
UC users only
Analyses K.M.'s use of camera and composition to create meaning in "Naniwa ereji naniwa hika".

Toshie, Mori
"All for money: Mizoguchi Kenji's Osaka elegy (1936)." In: Japanese cinema : texts and contexts / edited by Alastair Phillips and Julian Stringer. London ; New York : Routledge, 2007.
Main (Gardner) Stacks PN1993.5.J3 J27 2007

The Forty-Seven Ronin (Genroku Chushingura)

Davis, Darrell William
"Back to Japan: militarism and monumentalism in prewar Japanese cinema." Wide Angle; Vol.XI nr.3 (July 1989); p.16-25
Focuses on Mizoguchi's "Genroku chushingura" as an example of the 'monumentalist' style of films in Japanese cinema of the immediately prewar years, promoting militarism and traditional Japanese values.

Davis, D. William.
"Genroku Chushingura and the Primacy of Perception." In: Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan / edited by Linda C. Ehrlich, et al. pp: 187-217. 1st ed. Austin, Tex.: University of Texas Press, 1994.
Moffitt N72.M6.C55 1994
Chinese Stdy PN1993.5.C4.C55 1994)

Andrew, Dudley.
"Ways of Seeing Japanese Prints and Films: Mizoguchi's Utamaro." In: Cinematic landscapes: observations on the visual arts and cinema of China and Japan / edited by Linda C. Ehrlich, et al., pp: 217-40. 1st ed. Austin, Tex.: University of Texas Press, 1994.
Moffitt N72.M6.C55 1994
Chinese Stdy PN1993.5.C4.C55 1994

Davis, D. William.
"Genroku Chushingura and the Primacy of Perception." In: Cinematic landscapes: observations on the visual arts and cinema of China and Japan / edited by Linda C. Ehrlich, et al., pp: 187-217. 1st ed. Austin, Tex.: University of Texas Press, 1994.
Moffitt N72.M6.C55 1994
Chinese Stdy PN1993.5.C4.C55 1994

Leach, James
"Mizoguchi and Ideology: Two Films from the Forties." Film Criticism, 1983 Fall, 8:1, 66-78. UC users only

Mizoguchi, Kenji
"Mon attitude de fond envers 'Les Quarante-sept Ronins'." Positif; nr.236 (Nov 1980); p.16-27
K.M. describes his film.

Mamoru Oshii

Anime bibliography

Cavallaro, Dani.
The cinema of Mamoru Oshii : fantasy, technology, and politics / Dani Cavallaro. Jefferson, N.C. : McFarland & Co., c2006.
Main (Gardner) Stacks PN1998.3.O83 C38 2006

Ingram, Susan; Reisenleitner, Markus.
"Polarizing Avalon: The European virtuosity and global virtuality of Mamoru Oshii's filmic imaginary." New Cinemas: Journal of Contemporary Film, 2006, Vol. 4 Issue 2, p129-138, 10p
UC users only

Ruh, Brian.
Stray dog of anime : the films of Mamoru Oshii New York : Palgrave Macmillan, 2004.
Full-text available online (UC Berkeley users only)
MAIN: PN1998.3.O83 R84 2004

Ghost in the Shell

Aoun, Steven.
"Ghost in the Shell." Metro, Winter2003, Issue 137, p188, 2p
UC users only

Chipman, Jay Scott
"So Where Do I Go from Here? Ghost in the Shell and Imagining Cyborg Mythology for the New Millenium." In: Millennial mythmaking : essays on the power of science fiction and fantasy literature, films and games / edited by John Perlich and David Whitt. Jefferson, N.C. : McFarland & Co., c2010.
Moffitt PN1995.9.F36 M56 2010
Pacific Film Archive PN1995.9.F36 M56 2010

Chute, David
"Ghost in the Shell." (Kokaku Kidotai). (movie reviews) Film Comment May-June 1996 v32 n3 p84(4)

Corbett, Austin
"Beyond Ghost in the (Human) Shell." Journal of Evolution & Technology; Dec2008, Vol. 20 Issue 1, p43-50, 8p
UC users only

Curti, Giorgio Hadi.
"The ghost in the city and a landscape of life: a reading of difference in Shirow and Oshii's Ghost in the Shell." Environment & Planning D: Society & Space, Feb2008, Vol. 26 Issue 1, p87-106, 20p
UC users only

Gardner, William O.
"The Cyber Sublime and the Virtual Mirror: Information and Media in the Works 0f Oshii Mamoru and Kon Satoshi." Canadian Journal of Film Studies; Spring2009, Vol. 18 Issue 1, p44-70, 27p
UC users only

Ingram, Susan; Reisenleitner, Markus.
"Polarizing Avalon: The European virtuosity and global virtuality of Mamoru Oshii's filmic imaginary" New Cinemas: Journal of Contemporary Film, 2006, Vol. 4 Issue 2, p129-138, 10p
UC users only

Miller, Gerald
"'To Shift to a Higher Structure.'" Intertexts; Spring-Fall2008, Vol. 12 Issue 1/2, p145-166, 22p
UC users only

Monnet, Livia
"Towards the feminine sublime, or the story of 'a twinkling monad, shape-shifting across dimension': intermediality, fantasy and special effects in cyberpunk film and animation." Japan Forum Volume 14, Issue 2, 2002
UC users only

Newman, Kim.
"Ghost in the Shell (Kokaku Kidotai)." Sight and Sound 6.n1 (Jan 1996): 39(1).

Orbaugh, Sharalyn.
"Sex and the single cyborg: Japanese popular culture experiments in subjectivity." Science Fiction Studies 29.3 (Nov 2002): 436-452.

Park, Jane Chi Hyun.
"Stylistic Crossings: Cyberpunk Impulses in Anime." World Literature Today: A Literary Quarterly of the University of Oklahoma, vol. 79, no. 3-4, pp. 60-63, September 2005.

Persons, Dan.
"Ghost in the Shell." Cinefantastique, Aug96, Vol. 28 Issue 1, p46-51, 4p
UC users only

Silvio, Carl
"Refiguring the radical cyborg in Mamoru Oshii's 'Ghost in the Shell.'" Science-Fiction Studies March 1999 v26 i1 p54(1)
UC users only
"Author's Abstract: COPYRIGHT 1999 SF-TH Inc. Despite the fact that Mamoru Oshii's Ghost in the Shell seems to espouse a political agenda that is in keeping with feminist theorizations of the cyborg, it covertly reworks this agenda into an endorsement of conventional configurations of sexual difference. The film gratifies desires for a strong, multiply-positioned female protagonist who uses technology as a means of empowerment, while simultaneously containing her subversive potential by re-narrating it within an older and better known paradigm: the dominance of masculine mind and spirit over the feminine materiality of the body. The film thus functions as an instrument of ideological containment that seems to be subversive on its "surface" while contextualizing that subversion within traditional narratives of sexual difference." [Expanded Academic Index]

Yuen, Wong Kin
"On the Edge of Space: 'Blade Runner,' 'Ghost in the Shell,' and Hong Kong's cityscape." (On Global Science Fiction, part 2) Science-Fiction Studies March 2000 v27 i1 p1(21)
UC users only
"Author's Abstract: SF films such as Blade Runner and Ghost in the Shell take a deep interest in the Hong Kong urbanscape at the turn of the century. With its history of dislocation, migration, and marginality in its colonial days, Hong Kong emerges as a model city for the sf genre of "future noir"; its overcrowded, disjunctive cityscape provides a perfect setting for multiculturalism in a postmodern context. This article takes readers on a guided tour of a unique shopping mall at the hub of Hong Kong urbanscape, Times Square, as an illustration of how we can read out of it an "urban secret located at the intersection" of sf and the postmodern." [Expanded Academic Index] COPYRIGHT 2000 SF-TH Inc.

Yuen, Wong Kin.
"On the Edge of Spaces: Blade Runner, Ghost in the Shell, and Hong Kong's Cityscape." Science-Fiction Studies. 27(1 (80)):1-21. 2000 Mar

Yuen, Wong Kin.
"On the Edge of Spaces: Blade Runner, Ghost in the Shell and Hong Kong's Cityscape." In: Liquid metal : the science fiction film reader / edited by Sean Redmond. London ; New York : Wallflower, 2004
Main Stack PN1995.9.S26.L57 2004

Patlabor

Anderson, Mark.
"Oshii Mamoru's Patlabor 2: Terror, Theatricality, and Exceptions That Prove the Rule." In: War/time / Frenchy Lunning, editor. Minneapolis, MN : University of Minnesota Press, c2009.
Full-text available online [UC Berkeley users only]

Bolton, Christopher.
"The Mecha's Blind Spot: Patlabor 2 and the Phenomenology of Anime." Science Fiction Studies, Nov2002, Vol. 29 Issue 3, p453-474, 22p
UC users only

Fisch, Michael.
"Nation, War, and Japan's Future in the Science Fiction Anime Film "Patlabor II." Science Fiction Studies, Mar2000, Vol. 27 Issue 1, p49-68, 20p
UC users only

Vernal, David.
"War and peace in Japanese science fiction animation: an examination of "Mobile Suit Gundam" and "The Mobile Police Patlabor."" Animation Journal, 1995, Vol. 4 Issue 1, p56-84, 29p

Nagisa Oshima

Buruma, Ian.
"Bad Boy." The New York Review of Books. 39 (16): 40-42. 1992 Oct 8.

Casebier, A.
"Oshima in contemporary theoretical perspective." Wide Angle Vol IX nr 2 (1987); p 4-17
Nagisa Oshima's work puts us in touch with essential characteristics of our experience with the cinema and its place in society at large.

Coates, Paul.
"Repetition and contradiction in the films of Oshima." (Nagisa Oshima) Quarterly Review of Film and Video Feb 1990 v11 n4 p65(7)

Kim, Nelson
"Profile of film director Nagisa Oshima."

Knee, Adam
"Criminality, eroticism, and Oshima." Wide Angle Vol IX nr 2 (1987); p 47-59
On the concurrence of productive social transgression and eroticism in the films of Nagisa Oshima, esp. "Merry Christmas, Mr. Lawrence".

Lehman, Peter
"Oshima: the avant-garde artist without an avant-garde style." Wide Angle Vol IX nr 2 (1987); p 18-31
Nagisa Oshima is an avant-garde filmmaker who performs avant-garde operations on a variety of styles; concentrates on "Ai no corrida" and "Merry Christmas, Mr. Lawrence".

Lehman, Peter
"The act of making films. An interview with Oshima Nagisa." Wide Angle Vol IV nr 2 (1980); p 56-61
N.O. discusses his own attitude to cinema and the US and European directors he admires.

Lower, Lucy.
"Rape, Murder, Impersonation, Metaphor: Appropriation or Annihilation of the Other?" In: Significant others : gender and culture in film and literature, East and West : selected conference papers / edited by William Burgwinkle, Glenn Man, Valerie Wayne. Honolulu, Hawaii : College of Languages, Linguistics, and Literature, University of Hawaii : East-West Center, c1993. Literary studies--East and West ; v. 6
Main Stack PN1993.5.A75.S44 1993

McCormick, R.
"An interview with Nagisa Oshima." Cineaste Vol VI nr 2 (1974); p 2-6
Oshima's views on his films, filmmaking as a political tool and on the political future of Japan.

"Nagisa Oshima." (interview with Japanese film director)(Interview)
UNESCO Courier July-August 1995 p60(5) (1333 words)
UC users only
"Renowned Japanese film director Nagisa Oshima says that contemporary Japanese cinema is facing difficult times. Oshima, whose 1975 film 'In the Realm of the Senses' established his international reputation, also says that he has the highest regard for American film technicians." [Expanded Academic Index]

Nowell-Smith, Geoffrey
"Oshima Revisited." Film Quarterly, Winter2010, Vol. 64 Issue 2, p19-23, 5p
UC users only

"Oshima."Wide Angle Vol IX nr 2 (1987); p 4-71,91-92
Five articles on N.O.Wide Angle Vol IX nr 2 (1987); p 4-71,91-92

Oshima, Nagisa
Cinema, censorship, and the state: the writings of Nagisa Oshima, 956-1978 / Nagisa Oshima; edited and with an introduction by Annette ichelson; translated by Dawn Lawson. Cambridge, Mass.: MIT Press, 1992.
UCB Main PN1993.5.J3 O794 1992

Polan, Dana.
"Politics as Process in Three Films by Nagisa Oshima." Film Criticism. 8 (1): 33-41. 1983 Fall.
Explores N.O.'s concern for the dialectics of screen and spectator in his films "Koshikei", "Nihon no yoru to kiri" and "Ai no corrida". (Originally published in VIII/1, Fall 83).

Riggs, Larry W.
"Desire, Substitution, and Violence in the Contracting Space of Gender." In: Significant others : gender and culture in film and literature, East and West : selected conference papers / edited by William Burgwinkle, Glenn Man, Valerie Wayne. Honolulu, Hawaii : College of Languages, Linguistics, and Literature, University of Hawaii : East-West Center, c1993. Literary studies--East and West ; v. 6
Main Stack PN1993.5.A75.S44 1993

Rayns, Tony
"A Samurai Among Farmers." Film Comment, Sep/Oct2008, Vol. 44 Issue 5, p52-59, 8p
UC users only
The article discusses the career of motion picture director Nagisa Oshima. The author comments on how the limited availability of Oshima's work on DVD has reduced his influence on Japanese cinema. He comments on the political aspects of Oshima's film "Night and Fog in Japan," how Oshima's alienation from Japanese culture affected the content of his films and Oshima's investigation into the cultural relationship between the Japanese and Koreans.

Turim, Maureen Cheryn
The films of Oshima Nagisa images of a Japanese iconoclast Berkeley : University of California Press, c1998
Electronic Location(s): http://ark.cdlib.org/ark:/13030/ft5s20071j eScholarship. Restricted to UC campuses
MAIN: PN1998.3.O84 T87 1998

Turim, Maureen Cheryn
"Signs of sexuality in Oshima's tales of passion." Wide Angle Vol IX nr 2 (1987); p 32-46
"Ai no borei" can be seen as an exploration of the 'roots' of the flowering of love that was shown in "Ai no corrida".

Turim, Maureen; Mowitt, John
"Thirty seconds over... Oshima's - the war of Tokyo or the young man who left his will on film." Wide Angle Vol I nr 4 (1977); p 34-43
A discussion of "Tokyo senso sengo hiwa", raising questions involving a confrontation between semiotics and psychoanalysis.

Vinke, Hermann
"Japan's 'world citizen'."(Nagisa Oshima) World Press Review April 1986 v33 p55(1)

Wilson, Rob.
"Tracking the Pacific Rim, fast and loose: censorships, diasporas and the return of the cultural uncanny." boundary 2 Fall 1995 v22 n3 p275(10)
"Japanese filmmaker Nagisa Oshima, along with novelist Kenzaburo Oe, were the leading exponents of modern literature in post-World War II Japan. Oshima is particularly known for films such as the 'In the Realm of the Senses,' 'Merry Christmas, Mr. Lawrence' and 'Death By Hanging. In these and many other films, Oshima made innovative use of techniques that deviate from traditional cinematic conventions and earned praise from critics both in Japan and abroad." [Expanded Academic Index]

The Ceremony

McCormick, R.
"Ritual, the family and the state; a critique of Nagisa Oshima's The ceremony."Cineaste Vol VI nr 2 (1974); p 20-26
Introduction to the work of N.O., followed by a critical study of the elements of his film 'Gishiki': the ritual aspect of Japanese society, the Japanese family and the Japanese state from 1946 to 1970.

Cruel Story of Youth

Canby, Vincent
"Cruel story of youth." (movie reviews) The New York Times July 18, 1984 v133 p20(N) pC20(L) col 2 (10 col in)

Yoshimoto, Mitsuhero.
"Questions of the New: Oshima Nagisa's Cruel Story of Youth." In: Japanese cinema : texts and contexts / edited by Alastair Phillips and Julian Stringer. London ; New York : Routledge, 2007.
Main (Gardner) Stacks PN1993.5.J3 J27 2007
Moffitt PN1993.5.J3 J27 2007

Gohatto

Feinstein, Howard.
"Making and breaking taboos." (film director Nagisa Oshima)(Brief Article) The Advocate (The national gay & lesbian newsmagazine) Nov 7, 2000 p68 (649 words)
UC users only

Grossman, Andrew.
"Gohatto-or the End of Oshima Nagisa?." Bright Lights Film Journal. 33: (no pagination). 2001 July.

Holden, Stephen
"A disturbing interloper in the samurai circle." (Review)_(movie review) The New York Times Sept 30, 2000 pA24(N) pB16(L) col 1 (25 col in)

Rayns, Tony
"Back in passion." (Oshima Nagisa's 'Gohatto') Tony Rayns. Sight and Sound Nov 1999 v9 i11 p24(2)
"Oshima Nagisa's 'Gohatto' (Binding Regulations) is based on the novel by Shiba Ryotaro and is expected to be screened in Japan in December 1999. Oshima is best known for 'Merry Christmas, Mr Lawrence'. The latest film is about the Shinsen-gumi Shogunate militia, reknown for internal homosexuality and violence." [Expanded Academic Index]

Stephens, Chuck.
"Gohatto: Deadly Youth." (Review)_(movie review) Film Comment Nov 2000 v36 i6 p22

Strick, Philip.
"Gohatto." (Review) Sight and Sound August 2001 v11 i8 p38(3)

Stuart, Jan.
"Same-sex samurai." (Review)_(movie review) The Advocate (The national gay & lesbian newsmagazine) Nov 7, 2000 p70 (557 words)
UC users only

Tessier, Max.
"Nagisa Oshima: On the Sets of Gohatto." Cinemaya: The Asian Film Quarterly. 45: 37. 1999 Autumn.

Thomson, David
"A master returns to his realm; 'Taboo' is Nagisa Oshima's first feature film in 14 years." The New York Times Oct 8, 2000 pAR11(N) pAR11(L) col 1 (35 col in)

Yasuhara, Yoshihiro.
"Nagisa Oshima's Vast Historical Project and the Theme of Homoeroticism in "Taboo" (Gohatto)." Literature Film Quarterly, 2007, Vol. 35 Issue 1, p350-357, 8p UC users only

In the Realm of the Senses

Freiberg, Freda.
"The Unkindest Cut of All? Some Reflections on the Recent Cinematic Release of the Uncut Version of Nagisa Oshima's Ai no corrida." Senses of Cinema: An Online Film Journal Devoted to the Serious and Eclectic Discussion of Cinema. 12: (no pagination). 2001 Feb-Mar.

Grindon, Leger.
"In the Realm of the Censors: Cultural Boundaries and the Poetics of the Forbidden." In: Word and image in Japanese cinema / edited by Dennis Washburn, Carole Cavanaugh. Cambridge ; New York : Cambridge University Press, 2001.
Main Stack PN1993.5.J3.W67 2001

Heath, Stephen
"The question Oshima." Wide Angle Vol II nr 1 (1978); p 48-57
S.H. analyzes the film concentrating on the themes of obsession and sexuality.

High, P.B.
"Oshima: a vita sexualis on film." Wide Angle Vol II nr 4 (1978); p 62-71
An assessment of Oshima's films with a particular emphasis on "Ai no corrida", and pornography in modern Japanese films.

Martin, Adrian.
"In the realm." Landfall May 2003 i205 p124-124
The special screening of the Japanese film by Nagisa Oshima, In the Realm of the Senses is discussed. The effect of the sex scenes on the audience is highlighted.

McCormick, R.
"In the realm of the senses." Cineaste Vol VII nr 4 (Winter 1976-77); p 32-34
Formal and ideological analysis of film; and a discussion with N.O.

Lehman, Peter.
"In the Realm of the Senses: Desire, Power, and the Representation of the Male Body." Genders. 2: 91-110. 1988 July.

Rayns, Tony
"Tokyo stories : Oshima." Sight & Sound Vol L nr 3 (Summer 1981); p 174-176

Standish, Isolde
"Transgression and the politics of porn: O-shima Nagisa's In the realm of the senses (1976)." In: Japanese cinema : texts and contexts / edited by Alastair Phillips and Julian Stringer. London ; New York : Routledge, 2007.
Main (Gardner) Stacks PN1993.5.J3 J27 2007

Turim, Maureen Cheryn
"Signs of sexuality in Oshima's tales of passion." Wide Angle Vol IX nr 2 (1987); p 32-46
"Ai no borei" can be seen as an exploration of the 'roots' of the flowering of love that was shown in "Ai no corrida".

The Man Who Left His Will on Film

Branigan, Edward
"Subjectivity under siege - from Fellini's '8 1/2' to Oshima's The story of a man who left his will on film." Screen Vol XIX nr 1 (Spring 1978); p 7-40
Comparison of the two films, particularly in their point-of-view shots.

Night and Fog In Japan

Canby, Vincent.
"Night and fog in Japan." (movie reviews) The New York Times Jan 9, 1985 v134 p22(N) pC17(L) col 1 (12 col in)

Yasujiro Ozu

Seijun Suzuki

Branded to thrill : the delirious cinema of Suzuki Seijun
Edited by Simon Field and Tony Rayns. London : Institute of Contemporary Arts, 1994. DD>Main (Gardner) Stacks PN1998.3.S89 B73 1994

Rayns, Tony
"Deep Seijun." Sight & Sound; Jul2006, Vol. 16 Issue 7, p26-28, 3p
UC users only

Rosenbaum, Jonathan.
"Bullet Ballet: Seijun Suzuki." In: Exile cinema : filmmakers at work beyond Hollywood / Michael Atkinson, editor. Albany : State University of New York Press, c2008.
Main (Gardner) Stacks PN1993.5.D44 E97 2008

Takeshi 'Beat' Kitano

Camhi, Leslie.
"The serious side of Japan's favorite nuisance; Takeshi Kitano is best known as the TV comedian Beat Takeshi; his films are bleak visions of a conformist culture." New York Times v147, sec2 (Sun, March 15, 1998):AR13(N), AR13(L), col 1, 42 col in.

Burdeau, Emmanuel
"out de l'enfance: entretien avec Takeshi Kitano." Cahiers du Cinema no518 Nov 1997. p. 42-5
"An interview, Takeshi Kitano discusses his film Hana-Bi. He discusses several topics, including the extent to which the film marks a new beginning in his work, his growing interest in painting, the importance of the childlike perspective in the film, his depiction of the relationship between the married couple, and the importance of the way he represents violence in the film." [Art Index]

Cinémas d'Asie.
Cahiers du Cinéma; nr.512 (Apr 1997); p.22-53
Dedicated to recent works from Hong Kong and Japan, incl. those by Hou Hsiao-Hsien, Tsui Hark, Takeshi Kitano and Ryosuke Hashiguchi.

Corliss, Richard
"The Unbeaten: As a movie star and world-class director, Takeshi Kitano is the champ--playing brutal men who live and die on their own terms." (The Arts/Cinema) Time International Feb 12, 2001 v157 i6 p51+

Dahan, Yannick; Eisenreich, Pierre; Kitano, Takeshi
"Takeshi Kitano." Positif; nr.459 (May 1999); p.23-33
"A look at Japanese director Takeshi Kitano. Incl. a review of "Jugatsu", an article discussing the director's use of comedy and violence in a Japanese setting and an excerpt from a book in which Kitano reflects on different subjects, in particular the "Tora-san" films and the loss of tradition." [FIAF]

French, Howard W. .
"A Japanese man of all parts turns violence on its ear." (filmmaker Takeshi Kitano discusses 'Battle Royale,' in which he stars, and his most recent film, 'Brother')(Living Arts Pages) The New York Times Dec 26, 2000 pB1(N) pE1(L) col 2 (35 col in) Cineaste Summer 2001 v26 i3 p32

Gerow, Aaron Andrew.
Kitano Takeshi / Aaron Gerow. London : British Film Institute, 2007.
Main (Gardner) Stacks PN1998.3.K57 G47 2007

Gibson, William .
"The Baddest Dude On Earth: The prodigious talent that is TAKESHI KITANO, says William Gibson, has no parallel in the West." (Asian Heroes/Japan)(Brief Article) Time International April 29, 2002 v159 i16 p27

Hamid, Rahul
"'Beat' Comes to America: An Interview with Takeshi Kitano." (Interview) Cineaste Summer 2001 v26 i3 p32
UC users only

Jousse, Thierry
"La marque de Takeshi Kitano." Cahiers du Cinema no512 Apr 1997. p. 44-5
"A profile of Japanese filmmaker Takeshi Kitano with statements from the director himself. The writer traces Kitano's career, discussing such films as Violent Cop and Boiling Point, his masterpiece and one of the most important films of the 1990s, and A Scene at the Sea. Kitano discusses the latter and Kids Return, his latest film, which he describes as an autobiographical film dealing with his adolescence, and goes on to discuss his next film." [Art Index]

Kehr, Dave
"Twice as busy." (Japanese film director and stand-up comedian Takeshi Kitano)(Living Arts Pages) The New York Times July 13, 2001 pB7(N) pE7(L) col 2 (10 col in)

Miyao, Daisuke
"Blue vs. red: Takeshi Kitano's color scheme." Post Script; Vol.XVIII nr.1 (Fall 1998); p.112-127
UC users only
Examines how colours reinfornce the themes in Kitano's films, especially the colour blue

Ostria, Vincent
"Takeshi Kitano." Cahiers du Cinema no491 May 1995. p. 66
Japanese film director Takeshi Kitano is discussed. Originally a music hall performer, Kitano has become a television star while also pursuing a career in journalism and literature. He has directed such films as A Scene at the Sea and Sonatine and has also acted in Furyo and Johnny Mnemonic.

Pedroletti, Brice.
"Shooting on a shoestring." (Japanese directors' independent films)(Statistical Data Included) UNESCO Courier Oct 2000 p28

Rancière, Jacques
"Et le cinéma continue." Cahiers du Cinéma; nr.542 (Jan 2000); p.36-38
Reflections on the cinema of the nineties, in particular on the films of Abbas Kiarostami and Takeshi Kitano.

Rayns, Tony
"The harder way." (Japanese director Kitano Takeshi)(Interview) Sight and Sound, June 1996 v6 n6 p24(4)
"The two main characters in 'Kids Return' by Japanese director Kitano Takeshi search for the right way to survive, contrary to his earlier films where seeking ways to die was the dominant theme. The director's portrayal of the adolescents in the film is influenced by his own experience at school. He feels that his engineering degree might have helped him to organize the self-edited materials for his films. Takeshi places more emphasis on the silent expressions of the characters than the background music and dialogue. He feels he has received more attention in the Japanese film industry after the success of his movies abroad." [Expanded Academic Index]

Stephens, Chuck .
"Comedy plus massacre." (the films of Takeshi Kitano) Film Comment Jan-Feb 1995 v31 n1 p31(4)
"Kitano writes, directs and stars in violent, yet humorous films that are immensely popular in Japan. They explore violence in the everyday life of a policeman and a baseball player. A third film is an experimental, nonviolent film about surfing called 'A Scene at the Sea.'"
UC users only

Umemoto, Yoichi
"La mer et les profonds sentiments." Cahiers du Cinéma; nr.467-468 (May 1993); p.86-87,89
Contemporary Japanese cinema assessed through the work of two directors screened at Cannes '93: Shinji Somai and Takeshi Kitano.

Boiling Point (3-4x jugatsu)

Rayns, Tony
"3-4x jugatsu" (San tai yon x jugatsu) (Boiling point). Sight & Sound; Vol.IV nr.8 (Aug 1994); p.51-52
"Takeshi Kitano's 3-4x Jugatsu (San tai Yon x Jugatsu) (Boiling Point) has baseball as its governing metaphor as it addresses the question of whether or not to be a team player. It is the story of an incompetent, unenthusiastic player with an amateur baseball team who is encouraged by his dream of heroism to be a viable team player. The director has had the wit to pepper the film with a wonderful gallery of eccentric characters and incidents that reflect the disorderly underside of orderly Japan." [Art Index]

Stein, Elliott
"Boiling points." The Village Voice, Jan 22, 2002; Vol. 47, Iss. 3; pg. 122, 1 pgs
UC users only
Several of the films showing at the "Dark Visions: Japanese Film Noir and Neonoir" film festival, including Yoshitaro Nomura's "The Chase" and Takashi Ishii's "A Night in the Nude," are reviewed.

Van Gelder, Lawrence.
"Death, despair and bad manners." (movie reviews) New York Times (Fri, Nov 19, 1999):B22(N), E22(L), col 6, 10 col in.

Brother

Blouin, Patrice; Joyard, Olivier
"Un Yakusa aux USA." Cahiers du Cinéma; nr.552 (Dec 2000); p.76-77
Review of "Brother" followed by an interview with the director

Jones, Kent
"First Look: Takeshi Kitano's `Brother'." (Review) (movie review) Film Comment Sept 2000 v36 i5 p14
UC users only

Kermode, Mark
"Brother." (Review) Sight and Sound April 2001 v11 i4 p40(2)

Lyman, Rick
"A Japanese star tries English." (actor and director Takeshi Kitano is in Los Angeles filming his first project in the U.S. and his first film in English, 'Brother')(Living Arts Pages) The New York Times Feb 4, 2000 pB12(N) pE12(L) col 5 (20 col in)

Mitchell, Elvis
"Los Angeles, don't mess with a Tokyo gangsta." (Brother)(Review)_(movie review) The New York Times July 20, 2001 pB16(N) pE18(L) col 5 (25 col in)

Rooney, David
"Brother." (Review) Variety Sept 18, 2000 v380 i5 p37
UC users only

Fireworks (Hana-Bi)

Baecque, Antoine de
"Aux aguets: que reste-t-il de la politique des auteurs?" Cahiers du Cinema no518 Nov 1997. p. 22-5
"The writer proposes a "politics of film" for five films released in November 1997: In flesh and blood, by Pedro Almodovar; Hana-Bi, by Takeshi Kitano; Le Gout de la cerise, by Abbas Kiarostami; On connait la chanson, by Alain Resnais; and Marius et Jeanette, by Robert Guediguian. Noting that such a monthly overview considers the films less as the successive landmarks in the filmmakers' oeuvres than the fragmented visions that sketch out a changing and ephemeral cinematic landscape, he outlines three propositions for a "politics of film." He concludes that such a politics confirms one of the major givens of the "politics of auteurs"--the physical resemblance between the film and its creator." [Art Index]

Davis, Darrell William
"Reigniting Japanese tradition with Hana-bi." Cinema Journal; Vol.XL nr.4 (Summer 2001); p.55-80
UC users only
Interrogates Kitano "Beat" Takeshi's "Hana-bi" ("Fireworks," 1997) for its appropriation of traditional Japanese iconography and its insertion into a global marketplace for Asian auteur-gangster films.

Hunter, Stephen.
"Blood Will Be Flung; Takeshi Kitano's 'Fireworks,' In Your Face And Then Some." Washington Post (April 17, 1998):B05.

Kehr, Dave
"Fireworks" (motion picture review) Film Comment v 34 Mar/Apr 1998. p. 31-3
"Takeshi Kitano's Hana-Bi is structured around the contrast between growth and consumption and creation and destruction. Kitano plays a renegade police detective who is angry at the criminals who killed one of his partners and crippled another but tender toward his wife, who has lost her infant daughter to leukemia and is now dying of the same illness. His story is contrasted with that of his crippled ex-partner, who has been abandoned by his wife and children and become a painter. Above all, the film is a graceful, defiant study in balance." [Art Index]

Maslin, Janet
"Hana-Bi." (movie review) The New York Times Sept 30, 1997 v147 pB8(N) col 4 (12 col in)

Rayns, Tony
"Then the fireworks." Sight & Sound; Vol.VIII nr.8 (Aug 1998); p.32-33,45
"The writer describes his experience on the set of Kitano Takeshi's new film, Hana-Bi. He describes in detail the shooting of a key scene in the film in the Azalea Mall in Japan and watching Takeshi editing the scene two days later. He explains the plot of the film, in which the shooting incident in the Azalea Mall changes a police detective's life, obliging him to resign from the police force and rethink his own life and his social and moral commitments. In an interview, Takeshi discusses his latest film and comments on, among other things, his editing process, his decision to have a real-life boxer play the bad guy in the mall, and his future projects." [Art Index]

Rayns, Tony
"Flowers and fire." Sight & Sound; Vol.VII nr.12 (Dec 1997); p.26-29
A report from the set of Kitano's gangster thriller "Hana-bi"; incl. comments from the director on his wish to challenge Japanese notions of the family unit, and about his editing style.

Saada, Nicolas; Burdeau, Emmanuel
"Mirage de la vie / Le goôt de l'enfance." Cahiers du Cinéma; nr.518 (Nov 1997); p.38-45
Director T.K. considers the essentially Japanese nature of certain elements in his film "Hana-bi".

Umemoto, Yoichi
"Cineastes japonais d'aujourd'hui: contempler la transformation du monde." Cahiers du Cinema no518 Nov 1997. p. supp XXII-XXIV
"Part of a special section on contemporary Japanese film since Nagisa Oshima and Seijun Suzuki. The writer discusses three recent Japanese films: Cure, by Kiyoshi Kurosawa; Sang froid, by Shinji Aoyama; and Hana bi, by Takeshi Kitano. Each of these films features police inspectors as its protagonist. These three characters seem to be part of the same world, a world in which they are becoming disorientated and are losing themselves in sadness, fatigue, emptiness, and vanity. What is important for the filmmakers is to show this transformation as seen and lived by their protagonists; they chose inspectors because, among other things, their job has made them supremely contemplative." [Art Index]

Vassé, Claire; others
"Takeshi Kitano." Positif; nr.441 (Nov 1997); p.17-29
Incl. two reviews of "Hana-bi"; an interview with director T.K. on the link between tenderness and violence; plus extracts from articles published in 1989/1990 in which T.K. comments on contemporary events in a humorous and provocative manner.

Kikujiro

Higuinen, Erwan
"Cannes 99: "L'été de Kikujiro" Cahiers du cinéma:536 [June 1999] p.32
"Discusses the Japanese film directed by and starring "Beat" Takeshi Kitano. Discusses how this film differs from Kitano's previous film "Hana-bi" as it recounts the experiences of a man and a young boy who is looking for his mother. Describes how the adult, in distracting the child, is able to reconnect with his own childhood. Offers commentary on the film's blend of the burlesque with the sentimental. Part of a series of articles reviewing films offered at the 1999 Cannes International Film Festival." [International Index to the Performing Arts]

Rayns, Tony
"Papa yakuza." (Kitano Takeshi's latest release) Sight and Sound, June 1999 v9 i6 p14(4)
"Kitano Takeshi's latest release 'Kikujiro no Natsu' (Kikujuro's Summer) is a departure for the director who is famed for his violent productions. The film portrays a journey taken by Kikujuro and orphaned child Masao, in search of the latter's mother. Takeshi was inspired by the 'The Wizard of Oz', and the role of dreams in 'Kikujuro' links the two films. The premiere of 'Kikujuro' will be held at the 1999 Cannes Film Festival." [Expanded Academic Index]

Scott, A.O.
"Cute kid, but he can't pick winners." (Review)_(movie review) The New York Times May 26, 2000 pB19(N) pE19(L) col 1 (20 col in)

Udo, Tommy
"Kikujiro." (Review) Sight and Sound July 2000 v10 i7 p47(1)

Sonatine

Baecque, Antoine de
"Sonatine." (motion picture review) Cahiers du Cinema no469 June 1993. p. 25-6

Hampton, Howard.
"Good-as-deadfellas." (films of Japanese actor-director-writer Takeshi Kitano) Artforum International April 1997 v35 n8 p70(4)
"Actor-director-writer Takeshi Kitano's film 'Sonatine' has popularized the man as a cult figure worldwide. The film reflects Kitano's opinion of motion pictures as a silent medium. Its protagonist is a more unstable version but less verbose version of actor Joe Pesci's character in the film 'Goodfellas.' Sonatine's elements are anachronistic but refreshingly simple. Kitano's work is also devoid of the self-reproach so prevalent among films by other filmmakers." [Expanded Academic Index]
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Holden, Stephen.
"Sonatine." (movie reviews) New York Times v147 (Fri, April 10, 1998):B12(N), E14(L), col 1, 14 col in.

Macnab, Geoffrey
"Sonatine."(movie reviews) Sight and Sound May 1994 v4 n5 p55(1)
"Takeshi Kitano's Sonatine is an exquisite gangster film. The plot has been meticulously worked out and comes complete with all the twists, turns, and betrayals demanded of the well-constructed gangster picture. This film is both rooted in a Japanese tradition of storytelling and very aware of the Hollywood gangster cycle, but, whatever its antecedents, the sheer verve and originality of Sonatine are all its own." [Art Index]

Ostria, Vincent
"Vacances à la plage" Cahiers du Cinéma; nr.491 (May 1995); p.64-66
A review of Takeshi Kitano's film Sonatine (1993). The brilliance of this violent police thriller lies in the fact that it is devoid of all the standard flamboyance of its genre and instead displays traditional Asian reserve. This contrasts markedly with the brutality and explosive virility normally associated with this type of film.

Romney, Jonathan.
"Sonatine." (movie reviews) . New Statesman & Society April 22, 1994 v7 n299 p35(1)
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Violent Cop

Dahan, Yannick
"Violent Cop." (movie reviews) Positif; nr.446 (Apr 1998); p.30-31

Rayns, Tony
"Violent Cop." (movie reviews) Sight & Sound; Vol.IV nr.1 (Jan 1994); p.53-54
"Violent Cop (Sono otoko, kyobo ni tsuki), directed by Takeshi Kitano, is a vigilante cop movie set in Japan. Its departure from Hollywood norms emerges in its cultural background; its blacker coda and climax; its more intense, detailed, and personalized moments of violence; and the persona of its director and star, Kitano."

Romney, Jonathan.
"Violent Cop." (movie reviews) New Statesman & Society Nov 19, 1993 v6 n279 p42(2)
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