Chris Berry is Professor of Film Studies at King’s College London, UK. His primary publications include Cinema and the National: China on Screen; Postsocialist Cinema in Post-Mao China: the Cultural Revolution after the Cultural Revolution; Public Space, Media Space; and The New Chinese Documentary Film Movement: For the Public Record. Luke Robinson is Lecturer in Film Studies at the University of Sussex, UK. He is the author of Independent Chinese Documentary: From the Studio to the Street, and book chapters and articles on Chinese-language feature film, animation, documentary, and film festivals.

• .Introduction.- .Section 1: Translating the Film Festival.- .A: International Film Festivals in the Chinese Speaking World.- .1. Chris Berry, “Shanghai and Hong Kong: A Tale of Two Festivals.”.- .2. Elena Pollacchi, “’Mature at Birth’: The Beijing International Film Festival between the National Film Industry and the International Film Circuit.”.- .3. Ming-yeh T. Rawnsley, “Culture Translation between ‘Local’ and ‘International’: The Golden Harvest Award Festival in Taiwan.”.- .B: Specialized Independent and Small Film Festivals in the Chinese-Speaking World.- .4. Hongwei Bao, “Queer as Catachresis: The Beijing Queer Film Festival in Cultural Translation.”.- .5. Flora Lichaa, “The Beijing Independent Film Festival: Translating the Non-Profit Model into China.”.- .6. Nikki J.Y. Lee and Julian Stringer, “‘China’s Sundance’ and Corporate Culture: Creating Space for Young Talent at the Tudou Video Festival.”.- .7. Esther C.M. Yau, “WhatCan Small Festivals Do? Towards Film Festivals as Testimony to Expanded Civic Engagement in Post-handover Hong Kong.”.- .8. Sabrina Qiong Yu and Lydia Dan Wu, “The China Independent Film Festival and Chinese Independent Film Festivals: Self-Legitimization and Institutionalization.”.- .C: Chinese Film Festivals Outside the Chinese-Speaking World.- .9. Luke Robinson, “Sole Traders, Cultural Brokers, and Chinese-Language Film Festivals in the United Kingdom: The London Taiwan Cinefest and the Chinese Visual Festival.”.- .Section 2: Translating Culture.- .A: International Film Festivals in the Chinese-Speaking World.- .10. Dina Iordanova, “Yingying, Zhenzhen and Fenfen? China at the Festivals.”.- .11. Ma Ran, “Programming China at the Hong Kong International Film Festival and the Shanghai International Film Festival.”.- .12. Gina Marchetti, “Clara Law’s Red Earth: The Hong Kong International Film Festival and the Cultural Politics ofthe Sponsored Short.”.- .B: Specialized Film Festivals in the Chinese-Speaking World.- .13. Jenny Chio, “Rural Films in an Urban Festival: Community Media and Cultural Translation at the Yunnan Multi Culture Visual Festival.”.- .14. Su-Anne Yeo, “Translating the Margins: New Asian Cinema, Independent Cinema, and Minor Transnationalism at the Hong Kong Asian Film Festival.”.- .15. Cindy Wong, “Translating Chinese Film Festivals – Three Cases in New York.”.- .C: Chinese Film Festivals outside the Chinese-Speaking World.- .Chinese Character Lists.- .Notes on Contributors.

Chris Berry is Professor of Film Studies at King’s College London, UK. His primary publications include Cinema and the National: China on Screen; Postsocialist Cinema in Post-Mao China: the Cultural Revolution after the Cultural Revolution; Public Space, Media Space; and The New Chinese Documentary Film Movement: For the Public Record. Luke Robinson is Lecturer in Film Studies at the University of Sussex, UK. He is the author of Independent Chinese Documentary: From the Studio to the Street, and book chapters and articles on Chinese-language feature film, animation, documentary, and film festivals.

• .Introduction.- .Section 1: Translating the Film Festival.- .A: International Film Festivals in the Chinese Speaking World.- .1. Chris Berry, “Shanghai and Hong Kong: A Tale of Two Festivals.”.- .2. Elena Pollacchi, “’Mature at Birth’: The Beijing International Film Festival between the National Film Industry and the International Film Circuit.”.- .3. Ming-yeh T. Rawnsley, “Culture Translation between ‘Local’ and ‘International’: The Golden Harvest Award Festival in Taiwan.”.- .B: Specialized Independent and Small Film Festivals in the Chinese-Speaking World.- .4. Hongwei Bao, “Queer as Catachresis: The Beijing Queer Film Festival in Cultural Translation.”.- .5. Flora Lichaa, “The Beijing Independent Film Festival: Translating the Non-Profit Model into China.”.- .6. Nikki J.Y. Lee and Julian Stringer, “‘China’s Sundance’ and Corporate Culture: Creating Space for Young Talent at the Tudou Video Festival.”.- .7. Esther C.M. Yau, “WhatCan Small Festivals Do? Towards Film Festivals as Testimony to Expanded Civic Engagement in Post-handover Hong Kong.”.- .8. Sabrina Qiong Yu and Lydia Dan Wu, “The China Independent Film Festival and Chinese Independent Film Festivals: Self-Legitimization and Institutionalization.”.- .C: Chinese Film Festivals Outside the Chinese-Speaking World.- .9. Luke Robinson, “Sole Traders, Cultural Brokers, and Chinese-Language Film Festivals in the United Kingdom: The London Taiwan Cinefest and the Chinese Visual Festival.”.- .Section 2: Translating Culture.- .A: International Film Festivals in the Chinese-Speaking World.- .10. Dina Iordanova, “Yingying, Zhenzhen and Fenfen? China at the Festivals.”.- .11. Ma Ran, “Programming China at the Hong Kong International Film Festival and the Shanghai International Film Festival.”.- .12. Gina Marchetti, “Clara Law’s Red Earth: The Hong Kong International Film Festival and the Cultural Politics ofthe Sponsored Short.”.- .B: Specialized Film Festivals in the Chinese-Speaking World.- .13. Jenny Chio, “Rural Films in an Urban Festival: Community Media and Cultural Translation at the Yunnan Multi Culture Visual Festival.”.- .14. Su-Anne Yeo, “Translating the Margins: New Asian Cinema, Independent Cinema, and Minor Transnationalism at the Hong Kong Asian Film Festival.”.- .15. Cindy Wong, “Translating Chinese Film Festivals – Three Cases in New York.”.- .C: Chinese Film Festivals outside the Chinese-Speaking World.- .Chinese Character Lists.- .Notes on Contributors.

Chris Berry is Professor of Film Studies at King’s College London, UK. His primary publications include Cinema and the National: China on Screen; Postsocialist Cinema in Post-Mao China: the Cultural Revolution after the Cultural Revolution; Public Space, Media Space; and The New Chinese Documentary Film Movement: For the Public Record. Luke Robinson is Lecturer in Film Studies at the University of Sussex, UK. He is the author of Independent Chinese Documentary: From the Studio to the Street, and book chapters and articles on Chinese-language feature film, animation, documentary, and film festivals.

• .Introduction.- .Section 1: Translating the Film Festival.- .A: International Film Festivals in the Chinese Speaking World.- .1. Chris Berry, “Shanghai and Hong Kong: A Tale of Two Festivals.”.- .2. Elena Pollacchi, “’Mature at Birth’: The Beijing International Film Festival between the National Film Industry and the International Film Circuit.”.- .3. Ming-yeh T. Rawnsley, “Culture Translation between ‘Local’ and ‘International’: The Golden Harvest Award Festival in Taiwan.”.- .B: Specialized Independent and Small Film Festivals in the Chinese-Speaking World.- .4. Hongwei Bao, “Queer as Catachresis: The Beijing Queer Film Festival in Cultural Translation.”.- .5. Flora Lichaa, “The Beijing Independent Film Festival: Translating the Non-Profit Model into China.”.- .6. Nikki J.Y. Lee and Julian Stringer, “‘China’s Sundance’ and Corporate Culture: Creating Space for Young Talent at the Tudou Video Festival.”.- .7. Esther C.M. Yau, “WhatCan Small Festivals Do? Towards Film Festivals as Testimony to Expanded Civic Engagement in Post-handover Hong Kong.”.- .8. Sabrina Qiong Yu and Lydia Dan Wu, “The China Independent Film Festival and Chinese Independent Film Festivals: Self-Legitimization and Institutionalization.”.- .C: Chinese Film Festivals Outside the Chinese-Speaking World.- .9. Luke Robinson, “Sole Traders, Cultural Brokers, and Chinese-Language Film Festivals in the United Kingdom: The London Taiwan Cinefest and the Chinese Visual Festival.”.- .Section 2: Translating Culture.- .A: International Film Festivals in the Chinese-Speaking World.- .10. Dina Iordanova, “Yingying, Zhenzhen and Fenfen? China at the Festivals.”.- .11. Ma Ran, “Programming China at the Hong Kong International Film Festival and the Shanghai International Film Festival.”.- .12. Gina Marchetti, “Clara Law’s Red Earth: The Hong Kong International Film Festival and the Cultural Politics ofthe Sponsored Short.”.- .B: Specialized Film Festivals in the Chinese-Speaking World.- .13. Jenny Chio, “Rural Films in an Urban Festival: Community Media and Cultural Translation at the Yunnan Multi Culture Visual Festival.”.- .14. Su-Anne Yeo, “Translating the Margins: New Asian Cinema, Independent Cinema, and Minor Transnationalism at the Hong Kong Asian Film Festival.”.- .15. Cindy Wong, “Translating Chinese Film Festivals – Three Cases in New York.”.- .C: Chinese Film Festivals outside the Chinese-Speaking World.- .Chinese Character Lists.- .Notes on Contributors.