Analyses the changing forms and significance of filmmaking in the People's Republic of China, Taiwan, and Hong Kong since the end of the Cultural Revolution.
Analyses the changing forms and significance of filmmaking in the People's Republic of China, Taiwan, and Hong Kong since the end of the Cultural Revolution.Hinweis: Dieser Artikel kann nur an eine deutsche Lieferadresse ausgeliefert werden.
List of illustrations List of contributors Acknowledgments Note on the Romanisation of Chinese Introduction Nick Browne Part I. Film in the People's Republic: 1. Spatiality and subjectivity in Xie Jin's film melodrama of the new period Ma Ning 2. Society and subjectivity: on the political economy of Chinese melodrama Nick Browne 3. Huang Jianxin and the notion of post-socialism Paul G. Pickowicz 4. Neither one thing nor another? Towards a study of the viewing subject and Chinese cinema in the 1980s Chris Berry Part II. Film in Taiwan and Hong Kong: 5. Remapping Taipei Fredric Jameson 6. The Ideology of initiation: the films of Hou Hsiao-hsien William Tay 7. The return of the father: Hong Kong new wave and its Chinese context in the 1980s Li Cheuk-To 8. Border crossing: mainland China's presence in Hong Kong cinema Esther Yau 9. Two films from Hong Kong: parody and allegory Leo Ou-Fan Lee.
List of illustrations List of contributors Acknowledgments Note on the Romanisation of Chinese Introduction Nick Browne Part I. Film in the People's Republic: 1. Spatiality and subjectivity in Xie Jin's film melodrama of the new period Ma Ning 2. Society and subjectivity: on the political economy of Chinese melodrama Nick Browne 3. Huang Jianxin and the notion of post-socialism Paul G. Pickowicz 4. Neither one thing nor another? Towards a study of the viewing subject and Chinese cinema in the 1980s Chris Berry Part II. Film in Taiwan and Hong Kong: 5. Remapping Taipei Fredric Jameson 6. The Ideology of initiation: the films of Hou Hsiao-hsien William Tay 7. The return of the father: Hong Kong new wave and its Chinese context in the 1980s Li Cheuk-To 8. Border crossing: mainland China's presence in Hong Kong cinema Esther Yau 9. Two films from Hong Kong: parody and allegory Leo Ou-Fan Lee.
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