[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.
(http://www.amazon.com/Identity-Tradition-Globalism-Post-Cultural-Revolu
tion/dp/3639111060/ref=sr_1_1?ie=UTF8&s=books&qid=1236640154&sr=1-1)
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
Amazon.Com
(http://www.amazon.com/How-Became-Middle-earth-Adam-Lam/dp/3905703076/re
f=sr_1_2?ie=UTF8&s=books&qid=1236640154&sr=1-2)
Identity, Tradition and Globalism
CONTENTS
Introduction
0.1 Preamble
0.2 Study Chinese film development
0.3 The book layout
0.4 Terminology used in the book
CHAPTER ONE
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
CHAPTER TWO
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
CHAPTER THREE
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
politics
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
strategies
3.7 Ling Zifeng's search of traditional Chinese values
CHAPTER FOUR
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
poem
4.5 Huang Shuqin's feminist awareness in Woman, Demon,
Human
4.6 Achievements and contribution of fourth generation
directors
CHAPTER FIVE
Chinese Feature Films Subject to the Global Symbolic Order
5.1 Introduction
5.2 Alienation from tradition and poetic misreading of
"root-searching"
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
CHAPTER SIX
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
String
6.6 Farewell My Concubine as Chen Kaige's turning
point
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
CHAPTER SEVEN
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
Sorghum
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
CHAPTER EIGHT
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
CHAPTER NINE
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?
CHAPTER TEN
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
Filmography
Feature Films (Mainland Chinese Filmmakers) by Year of
Release
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
www.lanc.canterbury.ac.nz
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