Felicia Chan – författare

Chinese Cinemas: International Perspectives examines the impact the rapid expansion of Chinese filmmaking in mainland China has had on independent and popular Chinese cinemas both in and outside of China.

While the large Chinese markets are coveted by Hollywood, the commercial film industry within the People’s Republic of China has undergone rapid expansion since the 1990s. Its own production, distribution and exhibition capacities have increased exponentially in the past 20 years, producing box-office success both domestically and abroad.

This volume gathers the work of a range of established scholars and newer voices on Chinese cinemas to address questions that interrogate both Chinese films and the place and space of Chinese cinemas within the contemporary global film industries, including the impact on independent filmmaking both within and outside of China; the place of Chinese cinemas produced outside of China; and the significance of new internal and external distribution and exhibition patterns on recent conceptions of Chinese cinemas.

This is an ideal book for students and researchers interested in Chinese and Asian Cinema, as well as for students studying topics such as World Cinema and Asian Studies.

Chinese Cinemas: International Perspectives examines the impact the rapid expansion of Chinese filmmaking in mainland China has had on independent and popular Chinese cinemas both in and outside of China.

While the large Chinese markets are coveted by Hollywood, the commercial film industry within the People’s Republic of China has undergone rapid expansion since the 1990s. Its own production, distribution and exhibition capacities have increased exponentially in the past 20 years, producing box-office success both domestically and abroad.

This volume gathers the work of a range of established scholars and newer voices on Chinese cinemas to address questions that interrogate both Chinese films and the place and space of Chinese cinemas within the contemporary global film industries, including the impact on independent filmmaking both within and outside of China; the place of Chinese cinemas produced outside of China; and the significance of new internal and external distribution and exhibition patterns on recent conceptions of Chinese cinemas.

This is an ideal book for students and researchers interested in Chinese and Asian Cinema, as well as for students studying topics such as World Cinema and Asian Studies.