[csaa-forum] A New Book on Chinese Cinema

Adam Lam adam.lam at canterbury.ac.nz
Tue Mar 10 09:21:41 CST 2009

Dear fellow colleagues,


Forgiving me for being a bit self promoting, but I would like to draw
your attention to my recently published book Identity, Tradition and
Globalism: Post-Cultural Revolution Chinese Feature Films 1977- 1996 by
VDM (2008).  The book is available on Amazon.Com and I include a table
of contents below for your reference.  While purchasing the book for
yourself and friend is certainly my sincere wish, please do consider
recommend your university/college's library for adding this book into
its collection.


Another recent book I co-edited, How We Became Middle-earth: A
Collection of Essays on The Lord of the Rings, is also available on


Identity, Tradition and Globalism 



            0.1       Preamble       

            0.2       Study Chinese film development 

            0.3       The book layout       

            0.4       Terminology used in the book       


What Is Identity 

            1.1       Introduction   

            1.2       Film vs. dianying     

            1.3       Filmic signification  

            1.4       Cultural identity vs. symbolic order          

            1.5       The cultural identity of film            


Chinese Feature Films Subject to the Traditional Chinese Symbolic Order 

            2.1       Introduction   

            2.2       Traditional Chinese values in Communist China

            2.3       The revolutions did not take place            

            2.4       Film identified with traditional Chinese
performing arts          

            2.5       Film as a vehicle for doctrine        

            2.6       Chinese narrative tradition in contemporary
Chinese films    

            2.7       Chinese operatic tradition and film          

            2.8       Chinese films aimed for the Chinese market    


Xie Jin and Ling Zifeng: Third-Generation Directors in the Contemporary
Chinese Film Industry

            3.1       Introduction   

            3.2       A legend created by Legend of Tianyun Mountain

            3.3       Hibiscus Town: sexual politics rather than

            3.4       The debate on the "Xie Jin Model"           

            3.5       Dramatization and cinematic achievement of
Hibiscus Town            

            3.6       The Last Aristocrats and Xie Jin's promoting

            3.7       Ling Zifeng's search of traditional Chinese values


Two Wus in Two Directions and the Woman Director Huang Shuqin 

            4.1       Introduction   

            4.2       Wu Tianming's Old Well and the achievement of "the
foolish old man"      

            4.3       Wu Yigong's Evening Rain and traditional Chinese
poetic strategy 

            4.4       Wu Yigong's My Memories of Old Beijing-a nostalgic

            4.5       Huang Shuqin's feminist awareness in Woman, Demon,

            4.6       Achievements and contribution of fourth generation


Chinese Feature Films Subject to the Global Symbolic Order 

            5.1       Introduction   

            5.2       Alienation from tradition and poetic misreading of

            5.3       Overseas success of the fifth generation and
importation of postmodernity           

            5.4       Hyperrealism, post-realism and other realisms in
contemporary Chinese films     

            5.5       A fatally strategic development     


Chen Kaige and His Success by Surprise 

            6.1       Introduction   

            6.2       The Yellow Earth and its international triumph 

            6.3       The debate on The Yellow Earth  

            6.4       Achievements of The Yellow Earth          

            6.5       Chen Kaige's philosophical search in Life on a

            6.6       Farewell My Concubine as Chen Kaige's turning

            6.7       Chen Kaige's portrayal of homosexuality           

            6.8       Behind and beyond the concubine         

            6.9       Temptress Moon: a "yellow earth" story without
yellow earth  


Zhang Yimou and His Use of Multi-Interpretable Signs 

            7.1       Introduction   

            7.2       A director's personal style established    

            7.3       Ceremonial scenes and narrative strategy in Red

            7.4       Chineseness for the international market          

            7.5       The Oedipus complex in Judou    

            7.6       The functions of ceremonial scenes in Zhang
Yimou's "red trilogy" 

            7.7       The Story of Qiuju and its resistance to the
global-cultural influence           



Tian Zhuangzhuang: Politics and Politicization of Films 

            8.1       Introduction   

            8.2       Two minority films by Tian Zhuangzhuang        

            8.3       "Making films for the next century            

            8.4       Narrative structure of The Blue Kite         

            8.5       Politics in The Blue Kite     

            8.6       Politics around The Blue Kite        

            8.7       Achievement of The Blue Kite      


Those Who Are Called the Sixth Generation 

            9.1       Introduction   

            9.2       Zhang Yuan and Beijing Bastards           

            9.3       Guan Hu and Dirt    

            9.4       Is East Palace, West Palace a Chinese film?    


Huang Jianxin, Sun Zhou and Jiang Wen-Those Beyond Generations 

            10.1    Introduction   

            10.2    Huang Jianxin's Black Cannon Incident            

            10.3    Black Cannon Incident's differences with other
fifth-generation films         

            10.4    Huang Jianxin's Back to Back, Face to Face     

            10.5    Sun Zhou's The True Hearted      

            10.6    A Chinese answer to global-culturalism 

            10.7    Jiang Wen's In the Heat of the Sun         

            10.8    From mission to expression          

A Conclusion By any Other Name 

            11.1    From tradition...        

            11.2    To globalism 

            11.3    The shifting of identity        

            11.4    To conclude  


            Feature Films (Mainland Chinese Filmmakers) by Year of

            Feature Films (Mainland Chinese Filmmakers) by English Title

            Other Films and TV Productions  

Selected Bibliography 

            Sources in English  

            Sources in Chinese            


Best regards,


Adam Lam

BA (Monash) MA (HK) PhD (Auckland)


Programme Director for Chinese

Senior Lecturer in Chinese

School of Languages and Cultures

University of Canterbury

Private Bag 4800

Christchurch 8140

New Zealand

Telephone: (643) 364 2987 ext. 4999

Fax: (643) 364 2598

Email: adam.lam at canterbury.ac.nz

Mobile phone: (64 27) 328 3151



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