| Acknowledgments |
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ix | |
| Note on Romanization |
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xi | |
| SHELDON H. LU AND EMILIE YUEH-YU YEH |
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Introduction: Mapping the Field of Chinese-Language Cinema |
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1 | (26) |
| PART ONE Historiography, Periodization, Trends |
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CHAPTER ONE MARY FARQUHAR AND CHRIS BERRY |
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Shadow Opera: Toward a New Archaeology of the Chinese Cinema |
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27 | (25) |
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Bodies in the Air: The Magic of Science and the Fate of the Early "Martial Arts" Film in China |
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52 | (24) |
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Postsadness Taiwan New Cinema: Eat, Drink, Everyman, Everywoman |
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76 | (20) |
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Working from the Margins: Urban Cinema and independent Directors in Contemporary China |
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96 | (24) |
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CHAPTER FIVE SHELDON H. LU |
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Chinese Film Culture at the End of the Twentieth Century: The Case of Not One Less by Zhang Yimou |
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120 | (21) |
| PART TWO Poetics, Directors, Styles |
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CHAPTER SIX DAVID BORDWELL |
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Transcultural Spaces: Toward a Poetics of Chinese Film |
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141 | (22) |
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CHAPTER SEVEN EMILIE YUEH-YU YEH |
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Poetics and Politics of Hou Hsiao-hsien's Films |
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163 | (23) |
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CHAPTER EIGHT XIAOPING LIN |
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Jia Zhangke's Cinematic Trilogy: A Journey across the Ruins of Post-Mao China |
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186 | (24) |
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CHAPTER NINE THOMAS Y.T. LUK |
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Novels into Film: Liu Yichang's Tête-Bêche and Wong Kar-wai's In the Mood for Love |
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210 | (10) |
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CHAPTER TEN SHELDON H. LU |
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Crouching Tiger, Hidden Dragon, Bouncing Angels: Hollywood, Taiwan, Hong Kong, and Transnational Cinema |
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220 | (17) |
| PART THREE Politics, Nationhood, Globalization |
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CHAPTER ELEVEN DARRELL W. DAVIS |
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Borrowing Postcolonial: Wu Nianzhen's Dou-san and the Memory Mine |
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237 | (30) |
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CHAPTER TWELVE SHIAO-YING SHEN |
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Locating Feminine Writing in Taiwan Cinema: A Study of Yang Hui-shan's Body and Sylvia Chang's Siao Yu |
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267 | (13) |
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CHAPTER THIRTEEN DAVID DESSER |
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Fists of Legend: Constructing Chinese Identity in the Hong Kong Cinema |
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280 | (18) |
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CHAPTER FOURTEEN SHELDON H. LU |
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Hong Kong Diaspora Film and Transnational Television Drama: From Homecoming to Exile to Flexible Citizenship |
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298 | (14) |
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CHAPTER FIFTEEN CHU YIU WAI |
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Hybridity and (G)local Identity in Postcolonial Hong Kong Cinema |
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312 | (17) |
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CHAPTER SIXTEEN GINA MARCHETTI |
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Global Modernity, Postmodern Singapore, and the Cinema of Eric Khoo |
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329 | |
| JING NIE |
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363 | (8) |
| JING NIE |
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371 | (6) |
| JING NIE |
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377 | (22) |
| Notes on Contributors |
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399 | (4) |
| Index |
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403 | |
