East Asian Cinema: Books, Reviews and Articles about Selected Films in the UC Berkeley Libraries

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

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 (China)

Works on individual film makers (Japan)

South/Southeast Asian bibliography

Chinese Film Bibliography (Ohio State University)

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 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
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
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
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
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
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
>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 CenChiStu PN1993.5.C4 N49 1994; UCB Main PN1993.5.C4 N49 1994; UCB Moffitt PN1993.5.C4 N49 1994
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
Fu, Poshek: Between Shanghai and Hong Kong: the politics of Chinese cinemas Stanford, Calif.: Stanford University Press, c2003.; MAIN: PN1993.5.C4 F8 2003
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
Transnational Chinese cinemas: identity, nationhood, gender: Edited by Sheldon Hsiao-peng Lu. Honolulu, HI: University of Hawaii Press, 1997. 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
The urban generation : Chinese cinema and society at the turn of the twenty-first century: Zhang Zhen, editor. Durham : Duke University Press, 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
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
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
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]
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
Braester, Yomi.: "From Real Time to Virtual Reality: Chinese Cinema in the Internet Age." Journal of Contemporary China. 13 (38): 89-104. 2004 Feb.; "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]
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
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
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
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
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
Jaffee, Valerie.: "An Interview with Jia Zhangke."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]
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, X.: "New Chinese Cinema of the Sixth Generation: A Distant Cry of Forsaken Children." Third Text 16.3 (Sept 1, 2002): 261(24).; 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; "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
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
Mitchell, Graham .: "Shadow Magic: a tribute to moving picture pioneers in China." (Study Guide) Australian Screen Education Winter 2002 i29 p132(7) (2972 words)
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
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]
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]
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. * From "Minority Film" to "Minority Discourse": Questions of Nationhood and Ethnicity in Chinese CinemaFrom "Minority Film" to "Minority Discourse": Questions of Nationhood and Ethnicity in Chinese Cinema
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]
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
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.: "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.; 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.
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).; "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]
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
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
Chu, Yingchi.: Hong Kong cinema: coloniser, motherland and self. London: RoutledgeCurzon, 2003.; UCB MAIN: PN1993.5.H6 C58 2003
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
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
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 si�cle: � 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
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.
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
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
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
"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 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.
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); " 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]
Kar, Law: 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
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]
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.
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.
Leung, Helen Hok-sze,: "Queerscapes in Contemporary Hong Kong Cinema." positions: east asia cultures critique - Volume 9, Issue 2 2001; UC users only
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
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.: " 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.: "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
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
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 si�cle: 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
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
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.; "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
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; UC users only; "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]
Rodr�guez, 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: ]
Shu, Yuan.: "Reading the Kung Fu Film in an American Context: From Bruce Lee to Jackie Chan." Journal of Popular Film and Television. 31 (2): 50-59. 2003 Summer.
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
Tateishi, Ramie.: "Jackie Chan and the Re-Invention of Tradition." Asian Cinema 10(1):78-84. 1998 Fall
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.: "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
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
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.
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

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

China

Hong Kong Cinema

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