Routledge Studies in Chinese Cinema – serie

This three-volume set charting the general history of Chinese film organizes, analyses, and explains the different stages of development of Chinese film from 1896 to the present day.It includes analysis of films, filmmakers, historical elements of film style, as well as a review and elaboration of major events, while examining the intersection between film ecology and cultural ecology in every historical period, deploying the results of contemporary research from both China and abroad. Beginning with the film as text, it proceeds through formal analysis and comparison, makes connections with the social background of the work and the filmmakers, and narrates a continuous history of Chinese films and filmmakers and their world. The purpose is to deduce the historical basis for the evolution of film as art, political, philosophical, and literary trends, and to understand and explain how the current tradition of Chinese film has been gradually constructed from the past. This set will be a essential reading for scholars and students in film studies, Chinese studies, cultural studies, and media studies.

This three-volume set charting the general history of Chinese film organizes, analyses, and explains the different stages of development of Chinese film from 1896 to the present day.It includes analysis of films, filmmakers, historical elements of film style, as well as a review and elaboration of major events, while examining the intersection between film ecology and cultural ecology in every historical period, deploying the results of contemporary research from both China and abroad. Beginning with the film as text, it proceeds through formal analysis and comparison, makes connections with the social background of the work and the filmmakers, and narrates a continuous history of Chinese films and filmmakers and their world. The purpose is to deduce the historical basis for the evolution of film as art, political, philosophical, and literary trends, and to understand and explain how the current tradition of Chinese film has been gradually constructed from the past. This set will be a essential reading for scholars and students in film studies, Chinese studies, cultural studies, and media studies.

The early years of the history of Chinese film have lately been the subject of resurgent interest and a growing body of scholarship has come to recognise and identify an extraordinarily diverse and complex period. This volume explores the development of Chinese film from 1896 to 1949. The volume covers the screening of foreign films in Shanghai, Hong Kong and other coastal cities in China, the technological and industrial development of Chinese national cinema, key filmmakers and actors of early Chinese cinema, changing modes of representation and narration, as well as the social and cultural contexts within which early Chinese films were produced and circulated. The relationship between the War of Resistance against Japan and the Chinese civil war and Chinese film is also explored. The book will be essential reading for scholars and students in film studies, Chinese studies, cultural studies and media studies, helping readers develop a comprehensive understanding of Chinese film.

The early years of the history of Chinese film have lately been the subject of resurgent interest and a growing body of scholarship has come to recognise and identify an extraordinarily diverse and complex period. This volume explores the development of Chinese film from 1896 to 1949. The volume covers the screening of foreign films in Shanghai, Hong Kong and other coastal cities in China, the technological and industrial development of Chinese national cinema, key filmmakers and actors of early Chinese cinema, changing modes of representation and narration, as well as the social and cultural contexts within which early Chinese films were produced and circulated. The relationship between the War of Resistance against Japan and the Chinese civil war and Chinese film is also explored. The book will be essential reading for scholars and students in film studies, Chinese studies, cultural studies and media studies, helping readers develop a comprehensive understanding of Chinese film.

Since 1949, Chinese film has been greatly influenced by a variety of historical, cultural, and political events in the history of the People’s Republic of China. This volume explores the development of Chinese film from 1949 to 1976. This volume restores Chinese film to its original historical form and assesses its complex relationship with society, politics, culture, and art in the Maoist period. The 17-year films, Cultural Revolution-era films, the influence of model operas, and the documentary newsreels of Xinwen Jianbao are discussed. Combining a macro-perspective with a micro-perspective, the author analyzes the special characteristics of Chinese film in this period and showcases the inheritance and differences between earlier Chinese film and Chinese film in the newly founded the People’s Republic of China. The book will be essential reading for scholars and students in film studies, Chinese studies, cultural studies, and media studies, helping readers develop a comprehensive understanding of Chinese film.

Since 1949, Chinese film has been greatly influenced by a variety of historical, cultural, and political events in the history of the People’s Republic of China. This volume explores the development of Chinese film from 1949 to 1976. This volume restores Chinese film to its original historical form and assesses its complex relationship with society, politics, culture, and art in the Maoist period. The 17-year films, Cultural Revolution-era films, the influence of model operas, and the documentary newsreels of Xinwen Jianbao are discussed. Combining a macro-perspective with a micro-perspective, the author analyzes the special characteristics of Chinese film in this period and showcases the inheritance and differences between earlier Chinese film and Chinese film in the newly founded the People’s Republic of China. The book will be essential reading for scholars and students in film studies, Chinese studies, cultural studies, and media studies, helping readers develop a comprehensive understanding of Chinese film.

The Reform and Opening-up of China since the late 1970s has not only transformed the economic and political situation of the country but also transformed the Chinese film industry. This volume focuses on the 40 years of the history of Chinese film in the post-Mao era. As all aspects of film production, distribution, and exhibition have been commercialized, Chinese film has become an industry of immense scale and has grown by leaps and bounds. Meanwhile, contemporary Chinese film is marked by a new zeitgeist, with Chinese film closely integrated with Chinese society and the economy. The author argues that the Chinese film industry clearly stands at a turning point where the future of Chinese film and the way to further awaken, change, and shape film production have become important issues worth consideration in contemporary film history. The book will be an essential reading for scholars and students in film studies, Chinese studies, cultural studies and media studies, helping readers to develop a comprehensive understanding of Chinese film.

The Reform and Opening-up of China since the late 1970s has not only transformed the economic and political situation of the country but also transformed the Chinese film industry. This volume focuses on the 40 years of the history of Chinese film in the post-Mao era. As all aspects of film production, distribution, and exhibition have been commercialized, Chinese film has become an industry of immense scale and has grown by leaps and bounds. Meanwhile, contemporary Chinese film is marked by a new zeitgeist, with Chinese film closely integrated with Chinese society and the economy. The author argues that the Chinese film industry clearly stands at a turning point where the future of Chinese film and the way to further awaken, change, and shape film production have become important issues worth consideration in contemporary film history. The book will be an essential reading for scholars and students in film studies, Chinese studies, cultural studies and media studies, helping readers to develop a comprehensive understanding of Chinese film.

This book examines Chinese films made and shown abroad roughly between the 1920s and the 2020s, from the beginning of the international exchange of the Chinese national film industry to the emergence of the concept of soft power.The periodisation of Chinese cinema(s) does not necessarily match the political periods: on the one hand, the technical development of the film industry and the organisation of translation in China, and on the other hand, official relations with China and translation policies abroad impose different constraints on the circulation of Chinese films. This volume deals with the distribution and translation of films from mainland China, Taiwan, Hong Kong, and the Chinese diaspora. To this end, the contributors address various issues related to the circulation and distribution of Chinese films, including co- productions, agents of exchange, and modes of translation. The approach is a mixture of socio- cultural and translational methods. The data collected provides, for the first time, a quantitative overview of the circulation of Chinese films in a dozen foreign countries.The book will greatly interest scholars and students of Chinese cinema, translation studies, and China studies.