MEDIA

General

Armes, Roy. Third World Film Making and the West. Berkeley: UC Press, 1987.

Bai, Jingsheng. "Throwing Away the Walking Stick of Drama." Semsel, Chinese Film Theory, 5-9.

Bao Minglian. Dongfang Haolaiwu: Zhongguo dianying shiye jueqi yu fazhan (Hollywood of the East: the rise and development of the Chinese film industry). Shanghai: Shanghai renmin, 1991.

Barbieri, Maria. "The Other Half of Heaven: Women in Chinese Cinema." Asian Film Connection (University of Southern California)

Bassan, Raphael. "La longue marche du cinema chinois." La revue du cinema 380 (Feb 1983): 77?

Barlow, Tani and Donald Lowe. "Movies in China." Jump Cut 31 (1986): 55-57.

-----. "Media in China." Jump Cut 34 (1988): 117-121.

Bergeron, Regis. Le cinema chinois. I: 1905-1949. Laussane: Alfred Eibel, 1977.

-----. Le cinema chinois 1949-1983. 3 vols. Paris: L'Harmattan, 1983.

-----. Le cinema chinois: 1984-1997. Aix-en-Provence: Institut de l'image, 1997.

Berry, Chris, ed. Perspectives on Chinese Cinema. Ithaca: Cornell East Asia Papers, 1985. Rpt. London: British Film Institute, 1991. [with essays by Lee Oufan, Catherine Yi-Yu Cho Woo, Berry, Wang Yuejin, Esther Yau, Ann Kaplan, Quiquemelle... , 7 of which do not appear in the original 1985 edition]

-----. Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003. ["readings" of 25 films from Republican China, Taiwan, Hong Kong, and the PRC]

Berry, Chris. "'Race' (minzu): Chinese Film and the Politics of Nationalism." Cinema Journal 31, 2 (1992): 45-58.

-----. "Queer Films in East Asia." Australian Humanities Review 2 (July 1996).

-----. "Sexual DisOrientations: Homosexual Rights, East Asian Films, and Postmodern Postnationalism." In Xiaobing Tang, ed., In Pursuit of Contemporary East Asian Culture. Boulder: Westviewl 1996, 157-82.

-----. "If China Can Say No, Can China Make Movies? Or, Do Movies Make China? Rethinking National Cinema and National Agency." Boundary 2. Special Issue ed. Rey Chow. 25, 2 (Fall 1998): 129-50. Rpt. in Rey Chow ed., Modern Chinese Literary and Cultural Studies in the Age of Theory: Reimagining a Field. Durham: Duke UP, 2000. 159-80.

Berry, Chris and Mary Farquhar. “From National Cinemas to Cinema and the National: Rethinking the National in Transnational Chinese Cinemas.” Journal of Modern Literature in Chinese 4, 2 (2001): 109-22.

-----. China on Screen: Cinema and Nation. NY: Columbia University Press, 2006. [press blurb]

Berry, Michael. "Cinematic Representation of the Rape of Nanking." East Asia 19, 4 (2001): 85-108. [available online through Ingenta Select]

-----. A History of Pain: Literary and Cinematic Mappings of Violence in Modern China. Ph. D. diss. New York: Columbia University, 2004.

-----, ed. Speaking in Images: Interviews with Contemporary Chinese Filmmakers. NY: Columbia University Press, 2005. [CUP abstract]

Bordwell, David. "Transcultural Spaces: Toward a Poetics of Chinese Film." Post Script 20, 2/3 (Winter/Spring 2001): 9-24. Rpt. in Sheldon Lu and Yueh-yu Yeh, eds., Chinese-Language Films: Historiography, Poetics, Politics. Honolulu: University of Hawai'i Press, 2005. 141-62.

Braester, Yomi. "The Dream of Flying: Taipei and Beijing Cinematic Poetics of Demolition." Tamkang Review (Summer 2000).

-----. Witness Against History: Literature, Film, and Public Discourse in Twentieth-Century China. Stanford: Stanford UP, 2003.

Browne, Nick, et.al., eds. New Chinese Cinemas: Forms, Identities, Politics. Cambridge UP, 1994.

Chan, Evans. "Chinese Cinema at the Millennium (Part One). Asian Cinema 15, 1 (Spring 2004): 90-115.

Chang, Hsiao-hung. "The Unbearable Lightness of Globalization: On the Transnational Flight of Wuxia Films." In Darrell William Davis and Ru-Shou Robert Chen, eds., Cinema Taiwan: Politics, Popularity and State of the Arts. NY: Routledge, 2007, 95-107.

Chen Huangmei, ed. Dangdai Zhongguo dianying (Contemporary Chinese film). Beijing: Zhongguo shehui kexue, 1989.

Chen Mo. Bai nian dianying shanhui (Flashbacks to a hundred years of Chinese film). Beijng: Zhongguo jingji, 2000.

Chen Xihe. "Shadowplay: Chinese Film Aesthetics and Their Philosophical and Cultural Fundamentals." Geroge Semsel, ed., Chinese Film Theory. NY: Praeger, 1990: 192-204.

Cheng Jihua. Zhongguo dianying fazhan shi (The history of the development of Chinese film) 2 vols. Beijing: Zhongguo dianying, 1980. [first and most complete history of Chinese film]

Cheng, Pei-kai. "From Shanghai to Taipei: Metropolis in Spatial, Cultural, and Existential Consciousness in Chinese Cinema, 1930-1990." In Chen Ruxiu, ed., Xunzhao dianying zhong de Taibei (Focus on Taipei through Cinema). Taipei: Wanxiang, 1995, 138-43.

Chiao, [Peggy] Hsiung-ping. "'Trafficking' in Chinese Films." Modern Chinese Literature 7, 2 (1993): 97-101. [about the exchange of motion picture culture across the Taiwan straits]

-----. "Chinese Cinema 1999-2000: Four Traditions, Four Masterpieces." Cinemaya 51 (Summer 2001): 4-12.

Chinese Cinema/Le Cinema Chinois 1932-1985. Montreal: Conservatoire d'art cinematographique de Montreal, 1985. [filmography of 30 films from 1985 retrospective]

Chong, Woei Lien, "Chinese Cinema at the 1998 International Rotterdam Film Festival." China Information 12, 4 (Spring
1998): 96-155. (With a contribution by Anne Sytske Keijser)

Chong, Woei Lien and Anne Sytske Keijser. "Chinese Films at the 1994 Rotterdam Film Festival: The Chinese Censor Comes to Rotterdam - In Vain." China Information 8, 3 (Winter 1993-1994): 53-66.

-----. "Chinese Cinema at the 1995 Rotterdam Film Festival: Dreaming of a Better World." China Information 9, 4 (Spring 1995): 60-72

-----. "Chinese Cinema at the 25th International Rotterdam Film Festival." China Information 10, 3/4 (Winter 1995/Spring 1996): 29-43

-----. "Chinese Cinema at the 1999 International Rotterdam Film Festival." In China Information 13, 4 (Spring 1999): 97-160.

-----. "Modernizing Mainland China: PRC Films and Documentaries at the Royal Tropical Institute in Amsterdam, 1999". China Information, 14, 1 (2000): 171-207.

-----. "The Quest for Happiness: Chinese Cinema at the 2000 International Rotterdam Film Festival." China Information 14, 2 (2000).

Chow, Rey. "Violence in the Other Country: China as Crisis, Spectacle, and Woman." In Chandra Talpade Mohanty, ed. Third World Women and the Politics of Feminism. Bloomington: Indiana University Press, 1991, 81-100.

-----. Primitive Passsions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema. NY: Columbia UP, 1995.

-----. Sentimental Fabulations, Contemporary Chinese Films: Attachment in the Age of Global Visuality. NY: Columbia UP, 2007. [publisher's blurb]

"Cinema." In Information China. NY: Pergamon Press, 1989.

"Cinema of China." Wikepedia entry.

Clark, Paul. Chinese Cinema: Culture and Politics Since 1949. New York: Cambridge UP, 1988

Cosandey, Roland. "Pour servir a l'histoire du cinema chinois (1930-82)" Cahiers de la cinematheque. 37 (Summer, 1983):11-27.

Cui, Shuqin. Women Through the Lens: Gender and Nation in a Century of Chinese Cinema. Honolulu: University of Hawaii Press, 2003.

Curtin, Michael. Playing to the World's Biggest Audience: The Goblalization of Chinese Film and TV. Berkeley: University of California Press, 2007.

[In this provocative analysis of screen industries in China, Hong Kong, Taiwan, and Singapore, Michael Curtin delineates the globalizing pressures and opportunities that since the 1980s have dramatically transformed the terrain of Chinese film and television, including the end of the cold war, the rise of the World Trade Organization, the escalation of democracy movements, and the emergence of an East Asian youth culture. Reaching beyond national frameworks, Curtin examines the prospect of a global Chinese audience that will include more viewers than in the United States and Europe combined. He draws on in-depth interviews with a diverse array of media executives plus a wealth of historical material to argue that this vast and increasingly wealthy market is likely to shake the very foundations of Hollywood's century-long hegemony.]

Dai Jinhua. Dianying lilun yu piping shouce (Film theory and critical handbook). Kexue jishu wenxian, 1993.

-----. Jingcheng tuwei: nuxing, dianying, wenxue (Breaking out of the mirrored city: woman, film, literature). Beijing: Zuojia, 1995.

-----. "Invisible Women: Contemporary Chinese and Women's Film." positions east asian cultures critique 3, 1 (1995): 254-80.

-----. Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua. Eds. Wang, Jing and Tani Barlow. London: Verso, 2002. [MCLC Resource Center review by Megan Ferry]

Dai, Jinhua. “Rethinking the Cultural History of Chinese Film.” Tr. Lau Kin Chi. In Dai, Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua. Eds. Jing Wang and Tani Barlow. London: Verso, 2002, 235-63.

de Kloet, Jeroen. "Crossing the Threshold: Chinese Cinema Studies in the Twenty-first Century." Journal of Chinese Cinemas 1, 1 (Jan. 2007): 63-70.

Desser, David. "Conference Report: First Asian Cinema Studies Society/Tenth Annual Ohio University Film Conference on 'Asian Cinema.'" Quarterly Review of Film Studies 11, 2 (1989): 99-108.

---- "Conference Report: Session- Trends and Concepts in Chinese Cinema." Quarterly Review of Film Studies 10, 4 (1989): 357-59.

Dangdai Zhongguo dianying shi (History of contemporary Chinese film). 2 vols. Beijing: Zhongguo shehui kexue, 1989.

Dissanayake, Wimal, ed.. Cinema and Cultural Identity: Reflections on Films from Japan, India and China. Lanham, MD : University Press of America, 1988. [contains four articles on Chinese cinema by Paul Clark, Tony Rayns, Ma Qiang, and Shao Mujun]

-----. "Cinema and History." In 1990 Hawaii International Film Festival Viewer's Guide. Honolulu: East-West Center, 1990.

Dissanayake, Wimal, ed, Melodrama and Asian Cinema. Cambridge; New York: Cambridge University Press, 1993.

Donald, Stephanie. "Chinese Women and Chinese Film: Problems with History and Feminism." In Einhorn and Eileen Janes Yeo, eds., Women and Market Societies: Crisis and Opportunity. Aldershot, UK ; Brookfield, Vt., US: E. Elgar, 1995, 84-95.

-----. "Women Reading Chinese Films: Between Orientalism and Silence." Screen 36, 4 (1995): 325-40.

-----. Public Secrets, Public Spaces: Cinema and Civility in China. Lanham, MD: Rowan and Littlefield, 2000.

-----. Little Friends: Children's Film and Media Culture in China. Lanham, MD: Rowman and Littlefield, 2005.

Downing, John, ed. Film and Politics in the Third World. NY: Praeger, 1987. [contains essays by Kwok, Quiquemelle and T. Tung]

Du Yunzhi. Zhonghua minguo dianying shi (A history of film in the Chinese Republic). 2 vols. Taibei: Xingzheng yuan wenhua jianshe weiyuanhui, 1988. [Taiwan version of the history of Chinese film, based on Cheng Jihua]

Eberhard, Wolfram. The Chinese Silver Screen: Hong Kong and Taiwanese Motion Pictures in the 1960s. Taibei: Orient Culture Service, 1972.

Eleftheriotis, Dimitris and Gary Needham, eds. Asian Cinemas: A Reader and Guide. Honolulu: University of Hawai'i Press, 2006.

[Publisher's blurb: The West’s current fascination with Asian cinema must be viewed in the context of a complex and often problematic relationship between Western scholars, students, viewers, and Asian films. This book examines a number of detailed case studies (such as the films of Ozu, Bruce Lee, Hong Kong and Turkish cinema, Hindi melodramas, Godzilla films, Taiwanese directors, and Fifth Generation Chinese cinema) and uses them to investigate the limitations of Anglo–U.S. theoretical models and critical paradigms. By engaging readers with familiar areas of critical discourse (such as postcolonial criticism, “national cinema,” “genre,” “authorship,” and “stardom”) the book aims to introduce within such contexts the “unfamiliar” case studies that will be explored in depth and detail. Contributors: Ackbar Abbas, Rey Chow, David Desser, Dimitris Eleftheriotis, Nezih Erdogan, Ian Garwood, Lalitha Gopalan, Ahmet Gürata, Leon Hunt, E. Ann Kaplan, Siu Leung Li, Gary Needham, Chon Noriega, Julianne Pidduck, Yvonne Tasker, Stephen Teo, Rosie Thomas, Ravi Vasudevan, Tony Williams, I-Fen Wu, Esther Yau, Mitsuhiro Yoshimoto.]

Erlich, Linda and Ma Ning. "College Course File: East Asian Cinema" Journal of Film and Video. 42.2 (Summer, 1990):53-70.

Erlich, Linda and David Desser, eds., Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan. Austin: University of Texas Press, 1994.

Farquhar, Mary and Chris Berry. "Shadow Opera: Towards a New Archeology of the Chinese Cinema." Post Script 20, 2/3 (Winter/Spring 2001): 25-42.

Ferrari, Rossella. "Transnation/transmedia/transtext: Border-crossing from Screen to Stage in Greater China." Journal of Chinese Cinemas 2, 1 (May 2008): 53-67.

[Abstract: This essay attempts to reconceptualize transnational Chinese cinema along transmedial and transtextual lines by examining two collaborative stage projects devised by major film-makers and theatre practitioners from Hong Kong, Taiwan and the People's Republic of China under the aegis of Hong Kong art collective Zuni Icosahedron. The multimedia performances Journey to the East '97 and Experimental Shakespeare: King Lear exemplify a trend in Chinese transnationalism which transgresses and transcends not only regional and geopolitical borders but also textual, linguistic and disciplinary ones. The essay further investigates the ways in which transmedial frictions and interactions are exploited in these productions to articulate chronotopic dichotomies of presence/absence and appearance/disappearance in relation to Hong Kong's fate and inter-Chinese political developments after 1997.]

Fong, Gilbert C. E., ed. Dubbing and Subtitling in a World Context. HK: Chinese University Press, 2009.

Fu, Poshek. Between Shanghai and Hong Kong: The Politics of Chinese Cinemas. Stanford: Stanford UP, 2003.

Gabereau, Eve. "Time, Space, Identity, and the City: Contemporary Urban China and Japan Projected in Film." Asian Cinema 10, 1 (1998): 160-75.

Gongsun, Lu. Zhongguo dianying shi (History of Chinese film). HK: Nantian, 1977.

Green, Peter. "China, The Wind and Joris Ivens." Sight and Sound (Autumn 1989): 273-75.

Grossman, Andrew, ed. Queer Asian Cinema: Shadows in the Shade. NY: Harrington Press, 2000. [rpt of a special issue of The Journal of Homosexuality 39, 3/4 (2000).

-----. "Beyond the Western Gaze: Orientalism, Feminism, and the Suffering Woman in Nontransnational Chinese Cinema." In See-kam Tan, Peter X. Feng, and Gina Marchetti, eds., Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora. Philadelphia: Temple University Press, 2009, 138-51.

Guan Wenqing. Zhongguo yintan waishi (An informal history of the Chinese film world). Hongkong: Guangjiaojing chubanshe, 1976.

Hao, Dazheng. "Chinese Visual Representation: Painting and Cinema." In Linda Erlich and David Desser, eds., Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan. Austin: University of Texas Press, 1994, 45-62.

He, Chungeng. "The Distilled Art of Ethical Poetry--The Aesthetic Pursuit of Chinese Ethical Melodram Film." Asian Cinema 17, 2 (Fall/Winter 2006): 103-13.

He, Chungeng and Fanghua Wang. "Eternal Image in the Mirror: In Pursuit of Modernity and the Construction of Chinese Ethical Film Melodrama." Asian Cinema 18, 1 (Spring/Summer 2007): 224-37.

Hong, Junhao. "The Evolution of China's War Movie in Five Decades: Factors Contributing to Changes, Limits, and Implications." Asian Cinema 10, 1 (1998): 93-106.

Hou, Hsiao-hsien. "In Search of New Genres and Directions for Asian Cinema." Translated, Edited and Introduced by Lin Wenchi. Rouge 1 (2003).

Howkins, John. Mass Communications in China. NY: Longman, 1982. [contains chapter on film]

Hu Chang. Xin Zhongguo dianying de yaolan (The cradle of the new Chinese cinema). Changchun: Jilin wenshi, 1986. [history of the Changchun studio]

Hu, Ke. "Contemporary Film Theory in China." Trs. Ted Wang, Chris Berry, and Chen Mei. Screening the Past (March 1998).

Hui, Luo. "Theatricality and Cultural Critique in Chinese Cinema." Asian Theatre Journal 25, 1 (Spring 2008): 122-37.

Hunt, Leon and Wing-Fai Leung, eds. East Asian Cinemas: Exploring Transnational Connnections on Film. NY: I. B. Taurus, 2008.

Joris Ivens and China. Beijing: New World, 1983.

Kaplan, Ann E. and Wang Ban, eds. Trauma and Cinema: Cross-cultural Explorations. HK: HK University Press, 2004. [two essays deal with Chinese film]

Keijser, Anne Sytske. "Chinese Films at the 1993 Rotterdam Film Festival: East-Asian Society in Transition." China
Information 7, 4 (Spring 1993): 33-38.

Kong, Haili and John A. Lent, eds. One Hundred Years of Chinese Cinema: A Generational Dialogue. Norwalk, CT: EastBridge, 2005.

Kraicer, Shelly. "Chinese Language Films at the Hong Kong International Film Festival 2000: Review Article." CineAction 53 (Winter 2000): 64-72

Kramer, Stefan. Geschichte des Chinesischen Films (History of Chinese film). Stuttgart: J. B. Metzler, 1997.

Kuoshu, Harry. Lightness of Being in China: Adaptation and Discursive Figuration in Cinema and Theater. New York: Peter Lang, 1999.

-----, ed. Celluloid China: Cinematic Encounters with Culture and Society. Carbondale: Southern Illinois University Press, 2002. [each chapter treats a film and includes introductory material on the film and a scholarly essay (by a variety of film scholars) that treats the film. Basically a study guide.]

Kwok and M.C. Quiquemelle. "Chinese Cinema and Realism." In John Downing, ed. Film and Politics in the Third World. New York: Praeger, 1987, 181-98.

Lau, Jenny Kwok Wah. "Towards a Cultural Understanding of Cinema: A Comparison of Contemporary Films from the People's Republic of China and Hong Kong." Wide Angle 11, 3 (1989): 42-49.

-----, ed. Multiple Modernities: Cinemas and Popular Medias in Transcultural Asia. Philadelphia: Temple University Press, 2004. [MCLC Resouce Center review by Joelle Collier]

Lee, Leo Ou-fan. "The Tradition of Modern Chinese Cinema: Some Preliminary Explorations and Hypotheses." In Chris Berry, ed., Perspectives on Chinese Cinema. London: BFI Publishing, 1991, 6-20.

Lee, Vivian. "Virtual Bodies, Flying Objects: The Digital Imaginary in Contemporary Martial Arts Films." Journal of Chinese Cinema 1, 1 (Jan. 2007): 9-26.

Lent, John. The Asian Film Industry. Austin: University of Texas Press, 1990.

Lent, John, ed. Animation in Asia and the Pacific. Bloomington: Indiana UP, 2001.

Leung, Helen Hok-Sze. "Unthinking: Chinese - Cinema - Criticism." Journal of Chinese Cinema 1, 1 (Jan. 2007): 71-74.

-----. "Book Length Studies on Chinese Cinema." Journal of Chinese Cinema 1, 1 (Jan. 2007): 75-77.

Leyda, Jay. Dianying: an Account of Film and the Film Audience in China. Cambridge: MIT, 1972.

Lim, Kay Tong. Cathay: 55 Years of Cinema. Singapore: Landmark Boo for Meileen Choo, 1991.

Lim, Song Hwee. "Celluloid Comrades: Male Homosexuality in Chinese Cinemas of the 1990s." China Information 16, 1 (2002): 68-88.

-----. Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinema. Honolulu: University of Hawai'i Press, 2006.

[Publisher's blurb: Offers a cogent analytical introduction to the representation of male homosexuality in Chinese cinemas within the last decade. It posits that representations of male homosexuality in Chinese film have been polyphonic and multifarious, posing a challenge to monolithic and essentialized constructions of both “Chineseness” and “homosexuality.” Given the artistic achievement and popularity of the films discussed here, the position of “celluloid comrades” can no longer be ignored within both transnational Chinese and global queer cinemas. The book also challenges readers to reconceptualize these works in relation to global issues such as homosexuality and gay and lesbian politics, and their interaction with local conditions, agents, and audiences. Tracing the engendering conditions within the film industries of China, Taiwan, and Hong Kong, Song Hwee Lim argues that the emergence of Chinese cinemas in the international scene since the 1980s created a public sphere in which representations of marginal sexualities could flourish in its interstices. Examining the politics of representation in the age of multiculturalism through debates about the films, Lim calls for a rethinking of the limits and hegemony of gay liberationist discourse prevalent in current scholarship and film criticism. He provides in-depth analyses of key films and auteurs, reading them within contexts as varied as premodern, transgender practice in Chinese theater to postmodern, diasporic forms of sexualities. Informed by cultural and postcolonial studies and critical theory, this acutely observed and theoretically sophisticated work will be of interest to a wide range of scholars and students as well as general readers looking for a deeper understanding of contemporary Chinese cultural politics, cinematic representations, and queer culture.]

Lin Niantong. "A Study of the Theories of Chinese Cinema in their Relationship to Classical Aesthetics." Modern Chinese Literature I.2 (Spring, 1985): 18-33.

-----. "The Chinese Cinema in Its Third Period." Tr. Terry Yip. The Humanities Bulletin 4 (1995): 132-41.

Liu, Alan. The Film Industry in Communist China. Cambridge: Center for International Studies, MIT, 1965.

-----. Communications and National Integration in Communist China. Berkeley: UC Press, 1971.

Lu, Sheldon Hsiao-peng. China, Transnational Visuality, Global Postmodernity. Stanford: Stanford University Press, 2001. [reviewed by David Leiwei Li in Jump Cut, no. 47 (Fall 2004).

Lu, Sheldon Hsiao-peng, ed. Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997.

-----. "Problems and Prospects of Teaching Asian Cinema in America: A Symposium." Special section of Asian Cinema 11, 1 (Spring/Summer 2000): 143-91. [ contains short essays by John Lent, Keiko MacDonald, Marcia Landy, Lucy Fischer, Anne Ciecko, and Sheldon Lu].

Lu, Sheldon H. and Yueh-yu Yeh, eds. "Special Double Issue: Chinese Cinema." Post Script 20, 2/3 (Winter/Spring 2001).

-----. Chinese-Language Films: Historiography, Poetics, Politics. Honolulu: University of Hawai'i Press, 2005. [contains essays from the above special issue of Post Script, as well as some new essays.]

-----. "Dialect and Modernity in 21st Century Sinophone Cinema." Jump Cut 49 (Spring 2007).

Lu, Sheldon and Jiayan Mi, eds. Chinese Ecocinema: In the Age of Environmental Challenge. HK: Hong Kong University Press, 2009.

[This anthology is the first book-length study of China's ecosystem through the lens of cinema. Proposing 'ecocinema' as a new critical frameork, the volume collectively investigates a wide range of urgent topics in today's world: Chinese and Western epistemes of nature and humanity; the dialect of socialist modernization amid capitalist globalization; shifting configurations of space, locale, cityscape, and natural landscape; gender, religion, and ethnic cultures; as well as bioethics and environmental politics. The individual chapters zero in on diverse Chinese-language films by talented directors such as Zhang Yimou, Chen Kaige, Tian Zhuangzhuang, Jia Zhangke, Lou Ye, Fruit Chan, Wu Tianming, Tsai Ming-liang, Li Yang, Feng Xiaogang, Zhang Yang, Wang Xiaoshuai, Wang Bing, Ning Hao, Zhang Ming, Dai Sijie, Wanma Caidan, and Huo Jianqi. The book is a timely engagement with Chinese cinema's ecological consciousness in a historic moment of unparalleled environmental crises and destruction. In the coming decades, film will be one of the primary ways in which China adopts and expands ecolological consciousness. This book should interest scholars in film studies, environmental studies, ecocriticism, gender and cultural studies, Chinese studies, and globalization studies.]

Lu, Tonglin. Confronting Modernity in the Cinemas of Taiwan and Mainland China. Cambridge: Cambridge UP, 2002.

Lu Xun. Lu Xun yu dianying (Lu Xun and film). Beijing: Zhongguo dianying, 1981. [a collection of Lu Xun's writings on film]

Lupke, Christopher, ed. "The Question of the Nation in Contemporary China Film: A Symposium." Special section of Asian Cinema 15, 1 (Spring 2004).

Mackerras, Colin. The Performing Arts in Contemporary China. London: Routledge & Kegan Road, 1981.

Marchetti, Gina. "Chinese Cinema: Introduction." Jump Cut 34 (1988):85-86.

-----. "Plural and Transnational: Introduction." Special Issue of Jump Cut 41 (1998).

----. From Tiananmen to Times Sqaure: Transnational China and the Chinese Diaspora on Global Screens, 1989-1997. Philadelphia: Temple UP, 2006.

Mintz, Marilyn. The Martial Arts Film. New York: A.S. Barnes, 1978.

McDougall, Bonnie, ed. Popular Chinese Literature and Performing Arts in the People's Republic of China, 1949-1979. Berkeley: University of California Press, 1984.

Mi, Jiayan. "Framing Ambient Unheimlich: Ecoggedon, Ecological Unconscious, and Water Pathology in New Chinese Cinema." In Sheldon Lu and Jiayan Mi, eds., Chinese Ecocinema: In the Age of Environmental Challenge. HK: Hong Kong University Press, 2009, 17-38.

Neri, Corrado. Ages inquiet Cinémas chinois: une représentation de la jeunesse. Lyon: Editions Tigre de Papier, 2009.

Ni, Zhen. "Chinese Classical Painting and Cinematographic Signification." In Linda Erlich and David Desser, eds., Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan. Austin: University of Texas Press, 1994, 63-80.

Noth, Jochen, et. al. China Avant-Garde: Counter Currents in Art and Culture. HK and NY, 1994.

Ombres Electriques: Panorama du cinéma chinois 1925-1982. Paris: Centre du Documentation du Cinema Chinois, 1982. [contains a filmography of 60 films, plus articles on Zhang Shichuan, realism, Wu Xun zhuan, art and politics in PRC film, etc]

The Oxford Guide to Film Studies . Eds. John Hill and Pamela Church Gibson. NY: Oxford University Press, 1998. [articles on China (Berenice Reynaud), Hong Kong (Stephen Teo, N.K. Leung) and Taiwan (Kuan-hsing Chen)]

Palmer, Augusta L. Crossroads: Nostalgia and the Documentary Impulse in Chinese Cinemas at the Turn of the 21st Century. Ph. D. diss. NY: New York University, 2004.

Pang, Laikwan "Piracy/Privacy: The Despair of Cinema and Collectivity in China."boundary 2 31, 3 (Fall 2004): 101-124.

-----. Cultural Control and Globalization in Asia: Piracy and Copyright in Asian Cinema. RoutledgeCurzon, 2005. [MCLC Resource Center review by Shujen Wang]

-----. "New Asian Cinema and Its Circulation of Violence." Modern Chinese Literature and Culture 17, 1 (Spring 2005): 159-87.

-----. "The Institutionalization of Chinese Cinema as an Academic Discipline." Journal of Chinese Cinema 1, 1 (Jan. 2007): 55-62

Pang, Laikwan and Kwai-cheung Lo, guest editors. Special Issue on Chinese Culture in Inter-Asia. Modern Chinese Literature and Culture 17, 1 (Spring 2005).

Pickowicz, Paul. "From Yao Wenyuan to Cui Zi'en." Journal of Chinese Cinema 1, 1 (Jan. 2007): 41-54.

Pratley, Gerald, et al. "The Irresistible Rise of Asian Cinema." Kinema (Spring, 1994). [Includes: Gerald Pratley, "Production Activity"; Toh Hai Leong, "The Great Leap Forward; and Yvonne Ng, "Tian Zhuangzhuang: A Director for the 21st Century"]

Quiquemelle, Marie-Claire and Jean-Loup Passek. Le cinema chinois. Paris: Centre Georges Pompidou, 1985. [contains 14 articles, a chronology, a filmography, and biographical sketches of directors]

Raju, Zakir Hossain. "Filmic Imaginations of the Malaysian Chinese: ‘Mahua cinema’ as a Transnational Chinese Cinema." Journal of Chinese Cinemas 2, 1 (May 2008): 67-?.

[Abstract: This essay locates the Chinese films of Malaysia within contexts ranging from the national to the transnational. First, it attempts to position the films of Chinese Malaysian film-makers alongside Malaysian national cinema as well as the Mahua (Malaysian Chinese) literature that developed in Malaysia over the last one century or so. Second, the paper de-territorializes the Chinese films of Malaysia as transnational and transcultural entities. It further examines Malaysian Chinese films as a ‘new’ transnational Chinese cinema developed in connection with other transnational cinemas in the contemporary cosmopolitan world. It asks how this cinema is ‘transnational’ and if it bears some specific meaning of ‘Chinese-ness’ as it develops in today's globalizing Malaysia.]

Rayns, Tony. "The Position of Women in New Chinese Cinema." East-West Film Journal 1, 2 (1987): 32-44. Rpt. in Wimal Dissanayake, ed., Cinema and Cultural Identity: Reflections on Films from Japan, India, and China. Latham, MD: 1988.

Rayns, T. and S. Meek, eds. Electric Shadows: 45 Years of Chinese Cinema. London: BFI, 1980.

-----. More Electric Shadows: 1922-1984 (Programme Notes). London: British Film Institute, 1985.

Reynaud, Berenice. "Chinese Cinema." In John Hill and Pamela Gibson, eds. World Cinema: Critical Approaches. NY: Oxford UP, 2000, 159-65.

-----. "Societies in Motion, Culture in Commotion." Cinemaya 43 (Spring 1999): 4-10.

-----. "New Visions / New Chinas: Video-Art, Documentation, and the Chinese Modernity in Question." In Michael Renov and Erika Suderburg, eds., Resolutions: Contemporary Video Practices. Minneapolis: University of Minnesota Press, 1996, 226-57.

-----. "Glamour and Suffering: Gong Li and the History of Chinese Stars." Sight and Sound 3, 8 (1993): 13. Rpt. in Pam Cook and Philip Dodd, eds., Women and Film: A Sight and Sound Reader. Philadelphia: Temple University Press, 1993, 21-29.

-----. Nouvelles Chines, Nouveaux Cinémas. Paris: Cahiers du cinéma, 1999.

Rojas, Carlos. "A Tale of Two Emperors: Mimicry and Mimesis in Two 'New Year's Films from China and Hong Kong." Cineaction 60, 1 (2003): 2-9

Rosen, Stanley, ed. "Film Market in China: Translations from Zhongguo dianying shichang." Special issue. Chinese Education and Society 32, 2 (March-April 1999).

-----. "Hollywood Films and Chinese Domestic Films in China." Two Part special issues. Chinese Studies and Anthropology 32,1 (Fall 1999); 32, 2 (Winter 2000-01).

Semsel, George, ed. Chinese Film: The State of the Art in the People's Republic. NY: Praeger, 1987.

-----. Chinese Film Theory: A Guide to the New Era. NY: Praeger, 1990.

-----. Film in Contemporary China: Critical Debates, 1979-1989. Westport: Praeger, 1993.

Server, Lee. Asian Pop Cinema: Bombay to Tokyo. San Francisco: Chronicle Books, 1999.

Scott, A.C. Literature and the Arts in Twentieth Century China. London: Allen, 1965. Chapter on cinema (65-83).

Shanghai dianying sishi nian (Forty years of film in Shanghai). Shanghai: Xuelin, 1991.

Shapiro, Judith. After the Nightmare: A Survivor of the Cultural Revolution Reports on China Today. New York: Knopf, 1986. [contains an interview with Wu Tianming]

Silbergeld, Jerome. China into Film: Frames of Reference in Contemporary Chinese Cinema. London: Reaktion, 1999.

-----. Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China's Moral Voice. Seattle: University of Washington Press, 2004. [with analyses of Suzhou River, The Day the Sun Turned Cold, and Good Men, Good Women] [MCLC Resource Center review by Robert Chi]

"Special Film Issue" Jintian 2 (1992).

Tan, See-kam, Peter X. Feng, and Gina Marchetti, eds., Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora. Philadelphia: Temple University Press, 2009.

Tam, Kwok-kan and Wimal Dissanayake. New Chinese Cinema. NY: Oxford University Press, 1998.

Tang, Xiaobing. "Rural Women and Social Change in New China Cinema: From Li Shuangshuang to Ermo." positions 11, 3 (Winter 2003): 647-74.

Teo, Stephen. "Defining Chinese Cinema and its Position." Hong Kong Film Archive Newsletter 16 (May 2001).

-----. Chinese Martial Arts Cinema: The Wuxia Tradition. Edinburgh: Edinburgh UP, 2009.

[Abstract: The traditional martial arts genre known as wuxia (literally "martial chivalry") became popular the world over through the phenomenal hit Crouching Tiger, Hidden Dragon (2000). This book unveils the rich layers of the wuxia tradition as it developed in the early Shanghai cinema of the late 1920s and in the Hong Kong and Taiwan film industries of the 1950s and beyond. Stephen Teo follows the tradition from its beginnings in Shanghai cinema to its rise as a serialized form in silent cinema and its prohibition in 1931. He shares the fantastic characteristics of the genre, their relationship to folklore, myth, and religion, and their similarities and differences with the kung fu sub-genre of martial arts cinema. He maps the protagonists and heroes of the genre, in particular the figure of the lady knight-errant, and its chief personalities and masterpieces. Directors covered include King Hu, Chu Yuan, Zhang Che, Ang Lee, and Zhang Yimou, and films discussed are Come Drink With Me (1966), The One-Armed Swordsman (1967), A Touch of Zen (1970-71), Hero (2002), House of Flying Daggers (2004), The Promise (2005), The Banquet (2006), and Curse of the Golden Flower (2006).]

Tian Zhengqing. Beijing dianying yeshi ji, 1949-1990 (The mark of the history of the Beijing film industry). Beijing: Zhongguo dianying, 1999.

Tobias, Mel. Memoirs of an Asian Moviegoer. HK: South China Morning Post, 1982.

Tsai, Eva. "Kaneshiro Takeshi: Transnational Stardom and the Media and Culture Industries in Asia's Global/Postcolonial Age." Modern Chinese Literature and Culture 17, 1 (Spring 2005): 100-32.

Voyage autour du cinema chinois: nuits de Chine : une selection de 26 films chinois des annees 30 aux annees 80 (A voyage around Chinese cinema. China nights: a selection of 26 Chinese films from the 1930s to the 1980s). L'Association Culturelle des Cineastes Associes (The Cultural Association of Associated Filmmakers). Paris: s.n., 1983.

Wang, Ban. "Trauma, Visuality, and History in Chinese Literature and Film." In Ann E. Kaplan and Wang Ban, eds., Trauma and Cinema: Cross-cultural Explorations. HK: HK University Press, 2004, 217-40.

Wang, Jing and Tani Barlow. “Introduction.” In Dai, Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua. Eds. Jing Wang and Tani Barlow. London: Verso, 2002, 1-12.

Wang, Shujen. Framing Piracy: Globalization and Film Distribution in Greater China. Lanham, MD: Rowman and Littlefield, 2003.

Wang, Yiman. "The Phanton Strikes Back: Triangulating Hollywood, Shanghai, and Hong Kong." Quarterly Review of Film and Video 21 (2004): 317-26.

-----. "The ‘Transnational’ as Methodology: Transnationalizing Chinese Film Studies through the Example of The Love Parade and its Chinese Remakes." Journal of Chinese Cinemas 2, 1 (May 2008): 9-22.

[Abstract: This essay critiques unreflective celebration of transnational Chinese cinema and proposes the ‘transnational’ as methodology. By examining the dual modes of address in a Hong Kong remake of a Lubitsch musical comedy, I demonstrate the importance of scrutinizing border politics and the ‘foreignization’ of Chinese cinema in its transnational production and reception.]

-----. "Made in China, Sold in the United States, and Vice Versa–Transnational ‘Chinese’ Cinema between Media Capitals." Journal of Chinese Cinemas 3, 2 (June. 2009): 163-76.

Way, E. I. Motion Pictures in China. Washington, DC: Bureau of Foreign and Domestic Commerce, 1930.

Widmer, Ellen, and David Der-wei Wang, eds., From May Fourth to June Fourth: Fiction and Film in Twentieth Century China. Cambridge: Harvard UP, 1993.

Wilkerson, Douglas. "Film and Visual Arts in China: An Introduction." In Linda Erlich and David Desser, eds., Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan. Austin: University of Texas Press, 1994, 39-44.

Wu, Dingbao and Patrick Murphy. Handbook of Chinese Popular Culture. Westport: Greenwood Press, 1994.

Xia, Hong. "Film Theory in the People's Republic of China: The New Era." In George S. Semsel, ed., Chinese Film: The State of the Art in the People's Republic. New York: Praeger, 1987, 35-62.

Xiao, Zhiwei. "The Opium War in the Movies: History, Politics and Propaganda." Asian Cinema 11, 1 (Spring/Summer 2000): 68-83.

Xu, Gang Gary. "Remaking East Asia, Outsourcing Hollywood." Senses of Cinema 34 (Jan.-Mar. 2005).

Yang, Jeff. Once Upon a Time in China: A Guide to Hong Kong, Taiwanese, and Mainland Chinese Cinema. NY: Simon and Schuster, 2003.

Yang, Mayfair. "State Discourse or a Plebeian Public Sphere. Film Discussion Groups in China." Visual Anthropology 10, 1 (1994).

Yang & yin: Gender in Chinese Cinema. London: Connoisseur Video, 1996 . [documentary video with interviews of Stanley Kwan and centering around the issue of how gender has been treated in Chinese film]

Yau, Esther C. M. "China." In William Luhr, ed. World Cinema Since 1945. NY: Ungar Press, 1987, 116-39.

-----. "International Fantasy and the 'New Chinese Cinema.'" Quarterly Review of Film and Video 14, 3 (1993): 95-107.

-----. "Is China the End of Hermeneutics?; or, Political and Cultural Usage of Non-Han Women in Mainland Chinese Films". In D. Carson, L. Dittmar, and J.R. Welsch, eds., Multiple Voices in Feminist Film Criticism. Minneapolis: University of Minnesota Press, 1994, 280-292.

Yau, Esther C. M. and Kyung Hyum Kim, geust editors. "Asia Pacific Cinemas: A Spectral Surface." Special issue of positions 9, 2 (Fall 2001).

Yeh, Yeuh-yu. "Defining 'Chinese.'" Jump Cut 41 (1998).

Yi Sha. "Daoyan" (Introduction). In Zhongguo xin wenxue daxi xubian. 10 vols. HK: Xianggang wenxue, 1966, vol. 10.

Yin Hong. Xin Zhongguo dianying shi (History of new China's cinema). Changsha: Hunan meishu, 2002.

Zha, Jianying. China Pop: How Soap Operas, Tabloids, and Bestsellers are Transforming a Culture. New York: New Press, 1995.

Zhang Juxiang and Cheng Jihua, eds., Zhongguo dianying da cidian (China cinema encyclopedia). Shanghai: Shanghai cishu, 1995.

Zhang, Xudong. Chinese Modernism in the Era of Reforms: Cultural Fever, Avant-Garde Fiction, and New Chinese Cinema (Post-Contemporary Interventions). Durham: Duke University Press, 1997.

Zhang, Yingjin. The City in Modern Chinese Literature and Film: Configurations of Space, Time, and Gender. Stanford: Stanford UP, 1996.

-----. "Rethinking Cross-Cultural Analysis: The Questions of Authority, Power, and Difference in Western Studies of Chinese Films." Bulletin of Concerned Asian Scholars (Oct-Dec. 1994): 44-53. Rpt. in In Zhang, Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema. Ann Arbor: Center for Chinese Studies, University of Michigan, 2002, 115-47.

-----. "From Minority Film to Minority Discourse: Questions of Nationhood and Ethnicity in Chinese Film Studies." Cinema Journal 36, 3 (Spring 1997): 73-90. Rpt. In Zhang, Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema. Ann Arbor: Center for Chinese Studies, University of Michigan, 2002, 151-206.

-----. "Chinese Cinema and Transnational Cultural Politics: Reflections on Film Festivals, Film Productions, and Film Studies." Journal of Modern Literature in Chinese 2, 1 (July 1998): 105-32. Rpt. in Zhang, Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema. Ann Arbor: Center for Chinese Studies, University of Michigan, 2002, 15-42.

-----., ed. Cinema and Urban Culture in Shanghai, 1922-1943. Stanford: SUP, 1999.

-----. "A Typography of Chinese Film Historiography." Asian Cinema 11, 1 (Spring/Summer 2000): 16-32.

-----. Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema. Ann Arbor: Center for Chinese Studies, University of Michigan, 2002.

-----. "The Global City of the Transnational Imaginary: Plotting Disappearance and Reinscription in Chinese Urban Cinema." In Zhang, Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema. Ann Arbor: Center for Chinese Studies, University of Michigan, 2002, 253-312.

-----. "Seductions of the Body: Fashioning Ethnographic Cinema in Contemporary China." In Zhang, Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema. Ann Arbor: Center for Chinese Studies, University of Michigan, 2002, 207-51.

-----. Chinese National Cinema. New York: Routledge, 2004.

-----. "Comparative Flm Studies, Transnational Film Studies: Interdisciplinarity, Crossmediality, and Transcultural Visuality in Chinese Cinema." Journal of Chinese Cinema 1, 1 (Jan. 2007): 27-40.

Zhang, Yingjin and Zhiwei Xiao, eds. Encyclopedia of Chinese Films. London: Routledge, 1998.

Zhang, Zhen, ed. The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-first Century. Durham, NC: Duke UP, 2007.

[Abstract: Since the early 1990s, while mainland China’s state-owned movie studios have struggled with financial and ideological constraints, an exciting alternative cinema has developed. Dubbed the “Urban Generation,” this new cinema is driven by young filmmakers who emerged in the shadow of the events at Tiananmen Square in 1989. What unites diverse directors under the “Urban Generation” rubric is their creative engagement with the wrenching economic and social transformations underway in China. Urban Generation filmmakers are vanguard interpreters of the confusion and anxiety triggered by the massive urbanization of contemporary China. This collection brings together some of the most recent original research on this emerging cinema and its relationship to Chinese society.]

Zheng Shusen (William Tay). Wenhua piping yu Huayu dianying (Cultural criticism and Chinese cinema). Taibei: Maitian, 1996.

Zhong, Dafeng, et al. Zhongguo dianying shi (History of Chinese film). Beijing: Zhongguo guangbo dianshi, 1995.

Zhou, Xuelin. "From Behind the Wall: Representation of Gender and Sexuality in Modern Chinese Film." In See-kam Tan, Peter X. Feng, and Gina Marchetti, eds., Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora. Philadelphia: Temple University Press, 2009, 125-37.

Bao, Weihong. "From Pearl White to White Rose Woo: The Vernacular Translation of the Serial Queen in Chinese Silent Films, 1927-1931." Camera Obsura [60] 20, 3 (2005).

-----. "In Search of a ‘Cinematic Esperanto’: Exhibiting Wartime Chongqing Cinema in Global Context." Journal of Chinese Cinemas 3, 2 (June 2009): 135-47.

[Abstract: This essay examines the neglected wartime Chongqing cinema by situating it in its local and simultaneously global context of exhibition. Instead of reinforcing the image of Chongqing cinema as sheer state propaganda, I illustrate the film-makers' and the film critics' heightened awareness of multiple contexts of exhibition. I propose to consider this wartime cinema as a search for the ‘cinematic Esperanto’, an aspiration toward a world cinema and an international film language that contested the universal language of the Hollywood continuity system so as to bridge film aesthetics and audience responses to register the atrocity of the war and evoke corporeal public responses. By examining the critical interaction between film exhibition, film criticism, and film production, I hope to bring to recognition wartime Chongqing cinema as a highly self-conscious and active participant in an international film culture.]

Bao, Yuheng. "The Mirror of Chinese Society." Chinese Literature 4 (1985): 190-201.

"The Beginnings and Development of Early Asian Film." Special section of Screeing the Past 6 (July 1999).

Berry, Chris. "Chinese Left Cinema in the 1930s: Poisonous Weeds or National Treasures?" Jump Cut 34 (1988): 87-94.

-----. "Poisonous Weeds or National Treasures: Chinese Left Cinema in the 1930s." Jump Cut 34 (1989): 87-94.

-----. "The Sublimative Text: Sex and Revolution in Big Road[The Highway]" East-West Film Journal 2, 2 (June 1988): 66-86.

-----. "A Nation T(w/o)o: Chinese Cinema(s) and Nationahood(s)." East-West Film Journal 7, 1 (January 1993): 24-51.

Braester, Yomi. "Revolution and Revulsion: Ideology, Monstrosity, and Phantasmagoria in Ma-Xu Weibang's Film Song at Midnight." Modern Chinese Literature and Culture 12, 1 (Spring 2000): 81-114. Rpt. in Braester, Witness Against History: Literature, Film, and Public Discourse in Twentieth-Century China. Stanford: Stanford UP, 2003, 81-105.

Bren, Frank. "The Fabulous Adventures of Benjamin Brodsky: China's First Films---Really." Asian Cinema 20, 2 (Fall/Winter 2009): 1-17.

Brennan, Nate. "A Penny-dreadful House for Chinese Talkies: Notes Toward a History of Chinese-language Film Exhibition in Interwar New York." Journal of Chinese Cinemas 3, 2 (June 2009): 123-33.

[Abstract: Chinese-language films were a small but significant segment of the foreign-language films shown in New York City between the late 1930s and the end of World War II. These films and the theatres in which they were shown were discussed in the New York daily press and in many cases the location of the theatre and its implied audience dictated to reporters and critics the quality of the film. Chinese-language films shown in Lower East Side neighbourhood theatres were summarily dismissed as crude oddities largely because of their immigrant clientele. While there may have been little difference between them, Chinese-language films shown in midtown art theatres were received as cultural artefacts, which while still perceived as ‘exotic’, were nonetheless critiqued for their value as works of art.]

Cambon, Marie. "The Dream Palaces of Shanghai: American Films in China's Largest Metropolis Prior to 1949." Asian Cinema 7, 2 (Winter 1995): 34-45.

Chang, Michael. "The Good, the Bad, and the Beautiful: Movie Actresses and Public Discourses in Shanghai, 1920s-1930s." In Yingjin Zhang, ed. Cinema and Urban Culture in Shanghai, 1922-1943. Stanford: SUP, 1999, 128-59.

Chen Bo, ed. Zhongguo zuoyi dianying yundong (The Chinese leftist film movement). Beijing: Zhongguo dianying, 1993.

Cheng, Weikun. "The Challenge of the Actresses: Female Performers and the Cultural Alternatives in Early Twentieth Century Beijing and Tianjin." Modern China 22, 2 (Apr. 1996): 197-233.

Cheng, Jihua, et al. Zhongguo dianying fazhan shi (The history of the development of Chinese film). Beijng: Zhongguo dianying, 1980.

Cho, Pock-rey. "The Emperor of Shanghai Movies of the 1930s: Jin Yan (1910-1983)." Asian Cinema 14, 2 (Fall/Winter 2003): 206-214.

Chua, John. "Something Borrowed, Something New: Ye Ban Ge Sheng (Song at Midnight) and the Cross-Cultural Reinterpretation of Horror in Twentieth Century China." Asian Cinema 16, 2 (Fall/Winter 2005): 122-46.

Dai Xiaolan, ed. Zhongguo wusheng dianying (Chinese silent film). Beijing: Zhongguo dianying, 1996.

Dong, Xinyu. "The Laborer at Play: Laborer's Love, the Operational Aesthetic, and the Comedy of Inventions." Modern Chinese Literature and Culture 20, 2 (Fall 2008): 1-39.

Du, Wenwei. "Xi and Yingxi: The Interaction Between Traditional Theatre and Chinese Cinema." Screeing the Past (Nov. 2000).

Elley, Derek. "Peach Blossom Dreams: Silent Chinese Cinema Remembered." Griffithiana (Oct. 1997): 127-80.

Farquhar, Mary and Chris Berry. "Shadow Opera: Toward a New Archaelogy of Chinese Cinema." In Sheldon Lu and Yueh-Yu Yeh, eds., Chinese-Language Film: Historiography, Poetics, Politics. Honolulu: University of Hawai'i Press, 2005, 27-52.

Field, Andrew D. "Selling Souls in Sin City: Shanghai Singing and Dancing Hostesses in Print, Film, and Politics, 1920-1949." In Yingjin Zhang, ed. Cinema and Urban Culture in Shanghai, 1922-1943. Stanford: SUP, 1999, 99-127.

Fu, Po-shek. "Projecting Ambivalence: Chinese Cinema in Semi-Occupied Shanghai, 1937-1941." In Wen-hsin Yeh, ed., Wartime Shanghai. London: Routledge, 1998, 86-110.

-----. "Struggle to Entertain: The Political Ambivalence of Shanghai Film Industry under Japanese Occupation, 1941-1945." In Cinema of Two Cities: Hong Kong-Shanghai. Hong Kong: Eighteenth Annual Hong Kong International Film Festival, 1994.

-----. "Eileen Chang, Women's Film, and Domestic Culture of Modern Shanghai." Tamkang Review 29, 4 (Summer 1999): 9-28.

-----. "Selling Fantasies at War: Production and Promotion Practices of the Shanghai Cinema, 1937-1941." Sherman Cochran, ed., Inventing Nanjing Road: Commerical Culture in Shanghai, 1900-1945. Ithaca, NY: East Asia Program, Cornell University, 1999, 187-206.

-----. "Eileen Chang, Woman's Film, and Domestic Shanghai in the 1940s." Asian Cinema 11, 1 (Spring/Summer 2000): 97-113.

-----. Between Shanghai and Hong Kong: The Politics of Chinese Cinemas. Stanford: Stanford UP, 2003.

Ge, Congmin. "Photography, Shadow Play, Beijing Opera, and the First Chinese Play." Eras 3 (June 2002).

Hansen, Miriam Bratu. "Fallen Women, Rising Stars, New Horizions: Shanghai Silent Films as Vernacular Modernism." Film Quarterly 54, 1 (Fall 2000): 10-22.

Harris, Kristine. "Peach Blossom Dreams: Silent Chinese Cinema Remembered." Griffithiana 60/61 (October 1997): 126-179.

-----. "The New Woman: Image, Subject, and Dissent in 1930s Shanghai Film Culture." Republican China 20.2 (April 1995): 55-79. Rpt in Sheldon Lu, ed., Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997.

-----. Silent Speech: Envisioning the Nation in Early Chinese Cinema. Ph. D. diss. NY: Columbia University, 1997.

-----. "The Romance of the Western Chamber and the Classical Subject Film in 1920s Shanghai." In Yingjin Zhang, ed. Cinema and Urban Culture in Shanghai, 1922-1943. Stanford: SUP, 1999, 51-73.

Hong, Guo-Juin. "Framing Time: New Women and the Cinematic Representation of Colonial Modernity in 1930s Shanghai." positions: east asian cultures critique 15, 3 (Winter 2007): 553-80.

Hsieh, Shu-fen. "A Nostaligic Look at Classic Chinese Films." Sinorama 18, 5 (My 1993): 44.

Hu, Jubin. 2000. "Yingxi (Shadow Play): The Initial Chinese Conception about Film." Screening the Past (Nov. 2000).

----. Projecting a Nation: Chinese Cinema Before 1949. HK: Hong Kong University Press, 2003. [MCLC Resource Center review by Zhen Zhang]

Johnson, Matthew. "‘Journey to the Seat of War’: The International Exhibition of China in Early Cinema." Journal of Chinese Cinemas 3, 2 (June 2009): 109-22.

[Abstract: Much about early Chinese cinema remains unknown. This article demonstrates that colonialism, war and cross-cultural contact were important to the emergence and growth of a national film industry. At the same time, they instilled in film-makers the belief that visual technologies and mass media exerted a significant influence over national sovereignty. By the 1920s, globally-circulating techniques of propaganda, as well as reinvented aesthetic traditions (e.g. yingxi, or shadowplay) shaped the cinema's form as well as its function. Yet like the Qing dynasty before it, Republican China was ensnared in an epistemological ‘net’ created by foreign interests and capital. Proto-national culture industries, such as those envisioned by the Commercial Press and patriotic overseas elites, provided one possible way out.]

Kangri zhanzheng shiqi de Chongqing dianying (Film in Chongqing during the War of Resistance Against the Japanese). Chongqing: Chongqing chubanshe, 1991.

Kapitanoff, Nancy. "Moving Pictures: Shadow Magic Explores the Burgeoning Film Industry of 1902 China." Pulse (April 2001): 79-80.

Kingman, Spencer. "China's First Moving Pictures." Asia (May 1933): 278-279.

Lee, Daw-ming. "How Cinema Came to China: Some Theories and Doubts." In Law Kar, ed., Early Images of Hong Kong and China: The 19th Hong Kong International Film Festival. HK: Urban Council, 1995, 33-36.

Law, Kar and Frank Bren. "The Enigma of Benjamin Brodsky." HK Film Archive Newsletter 14 (2000).

Lee, Leo Ou-fan. "The Urban Milieu of Shanghai Cinema." In Lee, Shanghai Modern: The Flowering of a New Urban Culture in China, 1930-1945. Cambridge: Harvard UP, 1999.

-----. "Face, Body, and the City: The Fiction of Liu Na'ou and Mu Shiying." In Lee, Shanghai Modern: The Flowering of a New Urban Culture in China, 1930-1945. Cambridge: Harvard UP, 1999, 82-119.

-----. "The Urban Milieu of Shanghai Cinema, 1930-40: Some Explorations of Film Audience, Film Culture, and Narrative Conventions." In Yingjin Zhang, ed. Cinema and Urban Culture in Shanghai, 1922-1943. Stanford: SUP, 1999, 74-96.

-----. "Eileen Chang and Cinema." Journal of Modern Literature in Chinese 2, 2 (Jan. 1999): 37-60.

"Leftist Chinese Cinema of the Thirties." Cineaste 18, 3 (1990): 36-37.

Li, Cheuk-to. "Eight Films of Sun Yu: A Gentle Discourse on a Genius." Cineyama 11 (1991): 53-63.

Li Daoxin. Zhongguo dianying shi, 1937-1945 (History of Chinese film, 1937-1945). Beijing: Shoudu shifan daxue, 2000.

Li Suyuan and Hu Jubin. Zhongguo wusheng dianying shi (Chinese silent film history). Beijing: Zhongguo dianying, 1996.

Li, Suyuan. Chinese Silent Film History. Tr. Wang Rui, et al. Beijing: China Film Press, 1997.

Liu, Lu. "Sorrow after the Honeymoon: The Controversy over Domesticity in Late Republican China." Modern Chinese Literature and Culture 13, 1 (Spring 2001): 1-35.

Ma, Ning. "Symbolic Representation and Symbolic Violence: Chinese Family Melodrama of the Early 1980s." East-West Film Journal 4, 1 (Dec 1989): 79-112.

-----. "The Textual and Critical Difference of Being Radical: Recontructing Chinese Leftist Films of the 1930s." Wide Angle 11, 2 (1989): 28.

Meyer, Richard J. Ruan Ling-yu: The Goddess of Shanghai. HK: HK University Press, 2005. [Tells the story of one of the greatest Chinese movie stars of the silent era, from her humble origins to her tragic death at the height of her career. Included with the book is a DVD of her most famous film "The Goddess"]

Motion Pictures in China. Trade Information Bulletin no. 722, US Department of Commerce. Washington, DC: US Government Printing Office, 1930.

Ng, Kenny K. K. "The Screenwriter as Cultural Broker: Travels of Zhang Ailing's Comedy of Love." Modern Chinese Literature and Culture 20, 2 (Fall 2008): 131-84.

North, C. J. The Chinese Motion Picture Market. Washington, DC: Bureau of Foreign and Domestic Commerce, US Department of Commerce, 1927.

Palmer, Augusta. "Scaling the Skyscraper: Images of Cosmopolitan Consumption in Street Angel (1937) and Beautiful New World (1998)." In Zhen Zhang, ed., The Urban Generation: Chinese Cinema and Society at the Turn of the 21st Century. Durham: Duke UP, 2007, 181-204.

Pang, Laikwan. The Chinese Left-Wing Cinema Movement, 1932-1937: History, Aesthetics, and Ideology. Ph.d. diss. St. Louis: Washington University, 1997.

-----. Building a New China in Cinema: The Chinese Left-Wing Cinema Movement, 1932-1937. Lanham, Boulder, New York, London: Rowman and Littlefield, 2002. [MCLC Resource Center review by Shaoyi Sun]

Pickowicz, Paul. "Melodramatic Representation and the 'May Fourth' Tradition of Chinese Cinema." In Ellen Widmer and David Wang, eds., From May Fourth to June Fourth: Fiction and Film in Twentiety-Century China. Cambridge: Harvard UP, 1993, 295-326.

-----. "Sinifying and Popularizing Foreign Culture: From Maxim Gorky's The Lower Depths to Huang Zuolin's Yedian." Modern Chinese Literature 7, 2 (Fall 1993): 7-31.

-----. "The Theme of Spiritual Pollution in Chinese Films of the 1930s." Modern China 17, 1 (January 1991):38-75.

-----. "Victory as Defeat: Postwar Visualizations of China's War of Resistance." In Wen-hsin Yeh, ed., Becoming Chinese: Passages to Modernity and Beyond. Berkeley: University of California Press, 2000, 365-97.

Quiquemelle, Marie-Claire and Jean-Loup Passek. Le cinema chinois. Paris: Centre Georges Pompidou, 1985. [contains 14 articles, a chronology, a filmography, and biographical sketches of directors; emphasis on republican era film]

Rayns, Tony. "Missing Links: Chinese Cinema in Shanghai and Hong Kong from the 1930s to the 1940s." In Law Kar, ed., Early Images of Hong Kong and China: The 19th Hong Kong International Film Festival. HK: Urban Council, 1995, 105-11.

Robinson, David. "Return of the Phantom: Maxu Weibang's Ye Ban Ge Sheng." In Steven Jay Schneider, ed., Fear Without Frontiers: Horror Cinema Across the Globe. Goldaming, UK: FAB Press, 2003, 39-43.

Russell, Frances. "Hollywood in China." Vox Magazine (October 1935).

Shen, Vivian. "From Xin nuxing to Liren xing: Chang Conceptions of the 'New Woman' in Republican Era Chinese Films." Asian Cinema 11, 1 (Spring/Summer 2000): 114-130.

-----. The Origins of the Left-wing Cinema in China, 1932-37. New York and London: Routledge, 2005.

Stephenson, Shelley. "'Her Traces Are Found Everywhere': Shanghai, Li Xianglan, and the 'Greater East Asian Film Sphere.'" In Yingjin Zhang, ed. Cinema and Urban Culture in Shanghai, 1922-1943. Stanford: SUP, 1999, 222-45.

Sutcliffe, Brett. "A Spring River Flows East: Progressive Ideology and Gender Representation." Screening the Past 5 (Dec. 1998).

Tales of Old Shanghai (Movies).

To, Li Cheuk. "Le Printemps d'une petite ville, un film qui renouvelle la traditin chinoise." In Marie-Claire Quiquemelle and Jean-Loup Passek, eds., Le Cinema Chinois. Paris: Centre George Pompidou, 1985, 73-76.

Toroptsev, Sergei. "Xia Yan and the Chinese Cinema." Far Eastern Affairs 4 (1985): 126-31.

Totaro, Donato. "The Golden Age of Chinese Cinema: Chinese Cinema 1933-1949." Off Screen (May 12, 1999).

Tuohy, Sue. "Metropolitan Sounds: Music in Chinese Films of the 1930s." In Yingjin Zhang, ed. Cinema and Urban Culture in Shanghai, 1922-1943. Stanford: SUP, 1999, 200-21.

Wang, Yiman. "Crows and Sparrows: Allegory on a Historical Threshold." In Chris Berry, ed., Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 65-72.

-----. "The Phantom Strikes Back: Triangulating Hollywood, Shanghai, and Hong Kong." Quarterly Review of Film and Video 21 (2004): 317-26.

Way, E. I. Motion Pictures in China. Washington, DC: Bureau of Foreign and Domestic Commerce, US Department of Commerce, 1930.

Wilson, Patricia. "The Founding of the Northeast Film Studio 1946-1949." Semsel , Chinese Film, 15-33.

Xiao, Zhiwei. Film Censorship in China, 1927-1937. Ph. D. diss. San Diego: University of California, San Diego, 1994.

-----. "Anti-Imperialism and Film Censorship During the Nanjing Decade, 1927-1937." In Sheldon Lu, ed., Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997.

-----. "Constructing a New National Culture: Film Censorship and the Issues of Cantonese Dialect, Superstition, and Sex in the Nanjing Decade." In Yingjin Zhang, ed. Cinema and Urban Culture in Shanghai, 1922-1943. Stanford: SUP, 1999, 183-99.

-----. "Social Activism during the Republican Period: Two Case Studies of Popular Protests against Movies." Twentieth Century China 25, 2 (April 2000): 55-74.

-----. "Movie House Etiquette Reform in Early-Twentieth-Century China." Modern China 32, 4 (2006): 513-536.

Yeh, Yueh-yu. 2002. “Historiography and Sinification: Music in Chinese Cinema of the 1930s." Cinema Journal 41, no. 3 (Spring): 78-97.

Zhang, Yingjin. "Engendering Chinese Filmic Discourse of the 1930s: Configurations of Modern Women in Shanghai in Three Silent Films." Positions 2, 3 (Winter 1994): 603-28.

-----. "Introduction: Cinema and Urban Culture in Republican Shanghai." In Yingjin Zhang, ed. Cinema and Urban Culture in Shanghai, 1922-1943. Stanford: SUP, 1999, 3-23.

-----. "Prostitution and Urban Imagination: Negotiating the Public and the Private in Chinese Films of the 1930s." In Yingjin Zhang, ed. Cinema and Urban Culture in Shanghai, 1922-1943. Stanford: SUP, 1999, 160-80.

-----, ed. Cinema and Urban Culture in Shanghai, 1922-1943. Stanford: Stanford University Press, 1999.

-----. Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema. Ann Arbor: Center for Chinese Studies, University of Michigan, 2002.

-----. Chinese National Cinema. London; New York: RoutledgeCurzon, 2004.

-----. "Zhao Dan: Spectrality of Martyrdom and Stardom." Journal of Chinese Cinemas 2, 2 (July 2008): 103-111.

[Abstract: here is an uncanny link between martyrdom and stardom in Zhao Dan's film career. In real life he was twice incarcerated for multiple years, and on screen he appeared often as suffering martyrs. His stardom, based on ‘I play myself’ after Crossroads/Shizi jietou (1937), acquired an eerie dimension of spectrality as his self-performance was attuned to a ghostly mechanism engineered by precarious history more than individual subjectivity. Through Zhao's fated star performance of self as others, this study investigates spectrality as an irrational logic that integrated martyrdom and stardom in socialist China.]

Zhang, Zhen. An Amorous History of the Silver Screen: Film Culture, Urban Modernity, and the Vernacular Experience in China, 1896-1937. Ph. D. diss. University of Chicago, 1998.

-----. "Teahouse, Shadowplay, Bricolage: Laborer's Love and the Question of Early Chinese Cinema." In Yingjin Zhang, ed. Cinema and Urban Culture in Shanghai, 1922-1943. Stanford: SUP, 1999, 27-50.

-----. "Bodies in the Air: Magic of Science and the Fate of the Early 'Martial Arts' Film in China." Post Script 20, 2/3 (Winter/Spring 2001): 43-60. Rpt. in Sheldon Lu and Yueh-Yu Yeh, eds., Chinese-Language Film: Historiography, Poetics, Politics. Honolulu: University of Hawai'i Press, 2005, 52-75.

-----. "An Amorous History of the Silver Screen: The Actress as Vernacular Embodiment in Early Chinese Film." Camera Obscura [48] 16, 3 (2001): 229-63. [Project Muse link]

-----. An Amorous History of the Silver Screen: Shanghai Cinema, 1896-1937. Chicago: University of Chicago Press, 2006. [press blurb]

Zhong, Dafeng, Zhen Zhang, and Yingjin Zhang. "From Wenmingxi (Civilized Play) to Yingxi (Shadowplay): The Foundation of Shanghai Film Industry in the 1920s." Asian Cinema 9, 1 (1997): 46-64.

Zhongguo dianying yishu zhongxin, ed. Zhongguo zuoyi dianying yundong (The Chinese leftist cinema movement). Beijing: Zhongguo dianying, 1993.

Zhongguo dianying ziliao guan, ed. Zhongguo wusheng dianying (Chinese silent film). Beijing: Zhongguo dianying, 1996.

Zhongguo zuoyi xijujia lianmeng shiliao ji (Historical materials of the Chinese left-wing dramatists association). Beijing: Zhongguo xiju, 1991.

Bao, Ying. "The Problematics of Comedy: New China Cinema and the Case of Lu Ban." Modern Chinese Literature and Culture 20, 2 (Fall 2008): 185-228.

Berry, Chris. "Sexual Difference and the Viewing Subject in Li Shuangshuang and The In-laws." Berry, ed., Perspectives on Chinese Cinema. Ithaca: Cornell East Asia Papers, 1985. Rprt. London: British Film Institute, 1991.

-----. "Stereotypes and Ambiguities: An Examination of the Feature Films of the Chinese Cultural Revolution." Journal of Asian Culture 6 (1982): 37-72.

Braester, Yomi. "The Purloined Lantern: Maoist Semiotics and Public Discourse in Early PRC Film and Drama." In Braester, Witness Against History: Literature, Film, and Public Discourse in Twentieth-Century China. Stanford: Stanford UP, 2003, 106-27.

-----. "A Big Dying Vat: The Vilifying of Shanghai during the Good Eighth Company Campaign." Modern China 31, 4 (2005): 411-47.

[Abstract: This article demonstrates how the popular perception of Shanghai as a decadent city was heightened during the campaign for Emulating the Good Eighth Company of Nanjing Road and argues for the central role of cinema in shaping the symbolism of Shanghai’s locales. The campaign, which peaked in 1963, was linked to the Lei Feng campaign and was an important preamble to the Cultural Revolution. The Good Eighth Company campaign shifted the emphasis from Shanghai’s image as a revolutionary bastion to that of a reactionary stronghold, a "big dying vat" that might contaminate the revolutionary forces and that needed to be brought back into the socialist fold. Using internal Party documents, the author maps out the campaign; by examining films, culminating in Sentinels under the Neon Lights (1964), the author also traces the dynamics that made Nanjing Road into a metonym of Shanghai’s depravity and redefined the city’s revolutionary status.]

Braester, Yomi. "The Political Campaign as Genre: Ideology and Iconography during the Seventeen Years Period." Modern Languages Quarterly 69, 1 (March 2008): 119-140.

Chen, Tina Mai. "Propagating the Propaganda Film: The Meaning of Film in Chinese Communist Party Writings, 1949-1965." Modern Chinese Literature and Culture 15, 2 (Fall 2003): 154-93.

-----. "Internationalism and Cultural Experience: Soviet Films and Popular Chinese Understandings of the Future in the 1950s." Cultural Critique 58 (Fall 2004): 82-114.

-----. "Socialism, Aestheticized Bodies, and International Circuits of Gender: Soviet Female Film Stars in the People's Republic of China, 1949-1969." Journal of the Canadian Historical Association 18, 2 (2007): 53-80.

-----. "International Film Circuits and Global Imaginaries in the People's Republic of China, 1949–57." Journal of Chinese Cinemas 3, 2 (June. 2009): 149-61.

[Abstract: This article analyses patterns of film export from the People's Republic of China (PRC) to socialist and non-socialist countries during the period from 1949 to 1957. By focusing on the types of films and the countries in which they are exhibited, the article argues for a multilateral and comparative approach to understanding the filmic geographies created, and the ways in which this international film exhibition and its dant filmic geographies participated in Maoist articulations of socialism and modernization as national and global projects. The focus on the first eight years of the PRC and the global circulation of PRC films during this time further encourages a reassessment of scholarship on world cinema that tends to locate socialist cinema and the films of Maoist China outside of global aesthetics, politics and cultural exhibition and production.]

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Lewis, Greg. "The History, Myth, and Memory of Maoist Chinese Cinema, 1949-1976." Asian Cinema 16, 1 (Spring/Summer 2005): 162-83.

-----. "New China's Forgotten Cinema, 1949-1966: More Than Just Politics." Education About Asia (Fall 2004): 57-64.

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Lu, Xiaoning. "Zhang Ruifang: Modelling the Socialist Red Star." Journal of Chinese Cinemas 2, 2 (July 2008): 113-22.

[Abstract: Adopting a historical approach, this essay uses the concept of Red Star to examine the construction of the star in Chinese socialist cinema. Through a case study of Zhang Ruifang, this essay argues that a theoretical paradigm of modelling is crucial to comprehending the Red Star, one who embodies the ideal socialist person both on screen and off screen. As Zhang Ruifang's film stardom illustrates, the Red Star served as a model for the masses and was subject to remodelling by the socialist ideology.]

Loh, Wai-fong. "From Romantic Love to Class Struggle: Reflections on the Film Liu Sanjie." In Bonnie McDougall, ed. Popular Chinese Literature and Performing Arts in the PRC, 1949-1979. Berkeley: UCP, 1984, 165-176.

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Marchetti, Gina. "Two Stage Sisters: The Blossoming of a Revolutionary Aesthetic." Jump Cut 34 (1988): 95-106. Rpt. In Sheldon Lu, ed., Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997, 59-80.

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-----. "Filmic Discourse on Women in Chinese Cinema (1949-65): Art, Ideology and Social Relations." PhD dissertation. University of California, Los Angeles.

Yu Lan. "Ertong dianying sanshiwu nian xunli" (An overiew of 35 years of children's film). In Zhonghua renmin gonghe guo dianying shiye sanshiwu nian, 1949-1984 (Thirty-five years of film industry in the People's Republic of China). Beijing: Zhongguo dianying, 1985, 224-235.

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ZDX, ed. Zhonghua renmin gonghe guo dianying shiye sanshiwu nian, 1949-1984 (Thirty-five years of film development in the People's Republic of China). Beijing: Zhongguo dianying, 1985.

Zhong, Xueping. "'Long Live Youth' and the Ironies of Youth and Gender in Chinese Films of the 1950s and 1960s." Modern Chinese Literature and Culture 11, 2 (Fall 1999): 150-85.

Berry, Chris. "Chinese 'Women's Cinema': Introduction." Camera Obscura 18 (Sept. 1988): 4-7.

-----. "China's New 'Women's Cinema.'" Camera Obscura 18 (Sept. 1988):8-19.

----- "Chinese Urban Cinema: Hyper-Realism Versus Absurdism." East-West Film Journal 3, 1 (1988): 76-88.

-----. "Market Forces: China's 'Fifth Generation' Faces the Bottom Line." First Published in Continuum 2, 1 (1988/89): 106-27.

Berry, Chris and Mary Ann Farquhar. "Post-Socialist Stategies: An Analysis of Yellow Earth and Black Cannon Incident." In Linda Erlich and David Desser, eds., Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan. Austin: University of Texas Press, 1994, 81-116.

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Chang, Hsien-Chen. "The Small Freedom of the Market: Chinese Cinema during the Period of Reform." In Noth, Jochen, et.al., eds. China Avant-garde: Counter-currents in Art and Culture. HK, New York: Oxford University Press, 1994, 60-62.

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Chen, Ming-May Jessie and Mazharul Haque. "The Chinese Fifth Generation Directors and Their Films." Asian Cinema 16, 1 (Spring/Summer 2005): 306-24.

Chen, Xihe. The Major Developments and Their Ideological Implications of Chinese Film and Film Education since the Cultural Revolution. Ph.D. diss. Columbus: The Ohio State University, 1994.

Chen, Xiaoming. "The Mysterious Other: Postpolitics in Chinese Film." Trs. Liu Kang and Anbing Shi. In Xudong Zhang and Arif Dirlik, eds., Postmodernism and China. Durham: Duke UP, 2000, 222-38.

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-----"Ethnic Minorities in Chinese Films: Cinema and the Exotic." East-West Film Journal 1, 2 (June 1987): 15-31.

----- "Reinventing China: The Fifth Generation Filmmakers." Modern Chinese Literature 5, 1 (Spring 1989): 121-36.

-----. "A Women's Cinema? The Films of Hu Mei, Peng Xiaolian and Liu Miaomiao." In Clark, Reinventing China: A Generation and Its Films. HK: The Chinese University Press, 2005, 122-36.

-----. "The Rise of Entertainment Film: Zhang Jianya and Jiang Haiyang." In Clark, Reinventing China: A Generation and Its Films. HK: The Chinese University Press, 2005, 137-45.

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Cornelius, Sheila (with Ian Haydn Smith). New Chinese Cinema: Challenging Representations. London and New York: Wallflower, 2002.

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Dai, Jinhua. "Rewriting Chinese Women: Gender Production and Cultural Space in the Eighties and Nineties." In Mayfair Mei Hui Yang, ed. Spaces of Their Own: Women's Public Sphere in Transnational China. Minneapolis: University of Minnesota Press, 1999, 191-206.

-----. "Invisible Women: Contemporary Chinese and Women's Film." Positions 3, 1 (1995): 254-80.

-----. "Severed Bridge: The Art of the Sons' Generation." Trs. Lisa Rofel and Hu Ying. In Dai, Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua. Eds. Jing Wang and Tani Barlow. London: Verso, 2002, 13-48.

-----. “Gender and Narration: Women in Contemporary Chinese Film.” Tr. Jonathan Noble. In Dai, Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua. Eds. Jing Wang and Tani Barlow. London: Verso, 2002, 99-150.

-----. “’Human, Woman, Demon’: A Woman’s Predicament.” Tr. Kirk Denton. In Dai, Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua. Eds. Jing Wang and Tani Barlow. London: Verso, 2002, 151-71. [on Huang Shuqin's film]

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-----. "Chinese Women and Chinese Film: Problems with History and Feminism." In Barbara Einhorn and Eileen Janes Yeo, eds., Women and Market Societies: Crisis and Opportunity. Aldershot, UK ; Brookfield, Vt., US : E. Elgar, 1995, 84-95.

-----. Public Secrets, Public Spaces: Cinema and Civility in China. Lanham, Md : Rowman and Littlefield, 2000.

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Gladney, Dru. "Tian Zhuangzhuang, the Fifth Generation, and Minorities Films in China." Public Culture 8 (1995): 161-75.

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Hoare, Stephanie. "'Hsiao-hsiao' and Girl from Hunan: Teaching Chinese Narrative, not just Chinese Literature." Journal of Chinese Language Teachers Association 26, 2 (May 1991): 25-32.

Huot, Claire. "Colorful Folk of the Landscape: Fifth Generation Filmmakers and Roots Searchers." In Huot, China's New Cultural Scene: A Handbook of Changes. Durham: Duke University Press, 2000, 91-125..

Kaplan, Ann. "Problematising Cross-cultural Analysis: The Case of Women in the Recent Chinese Cinema" in Chris Berry, ed. Perspectives on Chinese Cinema. London: British Film Institute, 1991.

Kuoshu, Harry H. "Beyond the Yellow Earth: The Postsocialist City as a Cinematic Space of Anxiety." American Journal of Chinese Studies 4, 1 (April 1997): 50-72. [deals with Zhang Zeming's Sunshine and Shower, Huang Jianxin's Samsara, and Mi Jiashan's Troubleshooters]

-----. "Othering the National Minorities: Exoticism and Self-Reflexivity." In Harry Kuoshu, Lightness of Being in China: Adaptation and Discursive Figuration in Cinema and Theater. NY: Peter Lang, 1999, 95-122.

-----. "Filming Marginal Youth: The 'Beyond' Syndrome in the Postsocialist City." In Harry Kuoshu, Lightness of Being in China: Adaptation and Discursive Figuration in Cinema and Theater. NY: Peter Lang, 1999, 123-52.

Lang, Miriam. "Swan Songs: Traditional Musicians in Contemporary China - Observations from a Film." East Asian History 5 (June 1993).

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-----."New Chinese Cinema: A Critical Account of the Fifth Generation." Cinemaya 2 (1988-89): 32-35. [reprinted here on AsianFilms.org]

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-----. "Huang Jianxin and the Notion of Postsocialism." In Nick Browne et al., eds. New Chinese Cinemas: Forms, Identities, Politics. Cambridge: Cambridge University Press, 1994, 57-87.

-----. "The Theme of Spiritual Pollution in Chinese Films of the 1930s." Modern China 17, 1 (1991): 38-75.

-----. "Velvet Prisons and the Political Economy of Chinese Filmmaking." In Deborah Davis, et.al, eds., Urban Spaces in Contemporary China: The Potential for Autonomy and Community in Post-Mao China. Cambridge: Cambridge UP, 1995, 193-220.

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-----. "The Fifth Generation: A New Cinema in China." Monthly Film Bulletin (Oct. 1986): 296-98.

-----. "The New Chinese Cinema: An Introduction." In Chen, Kaige and Wan Zhi. King of the Children. London: Faber, 1989.

-----. "The Sun and the Rain: The Next Stage for China's Fifth Generation." Monthly Film Bulletin (Mar. 1988): 69-71.

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-----. "Melodrama as Historical Understanding: The Making and the Unmaking of Communist Historry." In Wimal Dissanayake, ed., Melodrama and Asian Cinema. NY: Cambridge UP, 1993.

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-----. "Cultural and Economic Dislocations: Filmic Phantasies of Chinese Women in the 1980s" Wide Angle 11, 2 (1989).

-----. "International Fantasy and the 'New Chinese Cinema.'" Quarterly Review of Film and Video 14, 3 (1993): 95-107.

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-----. "The Idyllic Country and the (Post) Modern City: Cinematic Configurations of Family in Osmanthus Alley and Terrorizer." Tamkang Review 25, 1 (1994): 81-99.

-----. Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema. Ann Arbor: Center for Chinese Studies, University of Michigan, 2002.

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-----. "Generational Politics: What Is the Fifth Generation?" In Zhang, Chinese Modernism in the Era of Reforms. Durham: Duke UP, 1997, 215-231.

-----. "The Making of a Modernist Cinematic Language." In Zhang, Chinese Modernism in the Era of Reforms. Durham: Duke UP, 1997, 232-65.

-----. "Ramifications and Allegories." In Zhang, Chinese Modernism in the Era of Reforms. Durham: Duke UP, 1997, 267-81.

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Zheng, Yi. "Narrative Images of the Historical Passion: Those Other Women--On the Alterity in the New Wave Chinese Cinema." In Sheldon Lu, ed., Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997.

Zhu, Ying. Chinese Cinema During the Era of Reform: The Ingenuity of the System. NY: Praeger Publishers, 2003.

-----. "Cinematic Modernization and Chinese Cinema's First Art Wave." Quarterly Review of Film & Video 18, 4 (2001).

-----. "From New Wave to Post New Wave: Chinese Fifth Generation's Cinematic Transition." Asian Culture Quarterly 2 (Summer 2000).

-----. "Commercialism and Nationalism: Chinese Cinema's First Wave of Entertainment Films." CineAction 47 (Summer 1998).

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-----. "Seeking Truth from Fiction: Feature Films as Historiography in Deng's China." Film History 7 (1995): 87-99.

-----. "If China Can Say No, Can China Make Movies? Or, do Movies Make China? Rethinking National Cinema and National Agency." Boundary 2. Special Issue ed. Rey Chow. 25, 2 (Fall 1998): 129-50. Rpt in Rey Chow ed., Modern Chinese Literary and Cultural Studies in the Age of Theory: Reimagining a Field. Durham: Duke UP, 2000. 159-80.

-----. Postsocialist Cinema in the Post-Mao China: The Cultural Revolution After the Cultural Revolution. NY: RoutledgeCurzon, 2004.

-----. "Ten Years Young: The Shanghai International Film Festival." Senses of Cinema 45 (Oct.-Dec. 2007).

Braester, Yomi. "From Real Time to Virtual Reality: Chinese Cinema in the Internet Age." Journal of Contemporary China 13, 38 (Feb. 2004): 89-104.

Abstract: What has become of the collective memory in the years between the Tian'anmen incident of 1989 and the PRC joining the WTO in 2001, a period that witnessed the proliferation of McDonalds restaurants and Internet bars in Chinese cities? This paper explores the changing values through three works that take the World Wide Web as their subject, namely Love in the Internet Age, also known as Love in Cyberspace (Wanglu shidai de aiqing, 1999), Q3 (1999), and First Intimate Encounter, also known as Flyin' Dance (Diyici de qinmi jiechu, 2001). The films do not offer a single vision of cyberspace, nor do they ascribe to the same filmic aesthetics or genre. Yet as a whole they provide a glimpse of China in the Internet age. They suggest that from a repository of collective memory, cyberspace has become the arena for an alternative existence free of the limitations of time and space. They trace the trajectory from a culture insistent on collective commemoration to a society willing to suspend its consciousness outside historical memory.

-----. "Chinese Cinema in the Age of Advertisement: The Filmmaker as a Cultural Broker." The China Quarterly 183 Sept. 2005): 549-564

-----. "Tracing the City's Scars: Demolition and the Limits of the Documentary Impulse in the New Urban Cinema." In Zhen Zhang, ed., The Urban Generation: Chinese Cinema and Society at the Turn of the 21st Century. Durham: Duke UP, 2007, 161-80.

Chen, Lora. "Breaking the Silence: Sun Zhou." [review] Cinemaya 50 (Winter 2000).

Chen, Mo and Zhiwei Xiao. "Chinese Underground Films: Critical Views from China." In Paul Pickowicz and Yingjin Zhang eds., From Underground to Independent: Alternative Film Culture in Contemporary China. Lanham, MD: Rowman and Littlefield, 2006,143-60.

Chen, Xiaoming. "The Mysterious Other: Postpolitics in the Narrative of Chinese Film." Boundary 2 24, 3 (1997): 123-41. Rpt. in Arif Dirlik and Xudong Zhang eds., Postmodernism and China. Durham: Duke UP, 1997, 222-38.

Chong, Woei Lien. "The Quest for Happiness: Chinese Cinema at the 2000 International Rotterdam Film Festival." China Information 14, 2 (2000): 194-218. [treats 7 films screen at the festival: Darkness and Light, Paper, The Longest Summer, Suzhou River, So Close to Paradise, Shower, Not One Less].

-----. "Le mysticisme de la nature dans le cinéma chinois après la Révolution culturelle" (Nature mysticism in post-Cultural Revolution Chinese cinema). Critique internationale 20 (July 2003): 48-58.

Clark, Paul. "Beyond the Fifth Generation." In Clark, Reinventing China: A Generation and Its Films. HK: The Chinese University Press, 2005, 187-204.

Cohen, Herve and Renaud Cohen, dirs. Electric Shadows. First Run Icarus Films, 1993.

Corliss, Richard. "Bright Lights." Time Asia 157, 12 (March 26, 2001). [on Sixth Generation films]

Cui, Shuqin. "Working from the Margins: Urban Cinema and Independent Directors in Contemporary China." Post Script 20, 2/3 (Winter/Spring 2001): 77-92. Rpt. in Sheldon Lu and Yueh-Yu Yeh, eds., Chinese-Language Film: Historiography, Poetics, Politics. Honolulu: University of Hawai'i Press, 2005, 96-119.

Clark, Paul. "Distance and Memory: Chinese Film in 1990." 1990 Hawaii International Film Festival Viewer's Guide. Honolulu: East-West Center, 1990.

-----. Reinventing China: A Generation and Its Films. HK: The Chinese University Press, 2005.

Cornelius, Sheila (with Ian Haydn Smith). New Chinese Cinema: Challenging Representations. London and New York: Wallflower, 2002.

Cui, Shuqin. "Negotiating In-Between: On New-Generation Filmmaking and Jia Zhangke's Films." Modern Chinese Literature and Culture 18, 2 (Fall 2006): 98-130.

Curtin, Michael. Playing to the World's Biggest Audience: The Globalization of Chinese Film and TV. Berkeley: University of California Press, 2007.

[Abstract: In this provocative analysis of screen industries in China, Hong Kong, Taiwan, and Singapore, Michael Curtin delineates the globalizing pressures and opportunities that since the 1980s have dramatically transformed the terrain of Chinese film and television, including the end of the cold war, the rise of the World Trade Organization, the escalation of democracy movements, and the emergence of an East Asian youth culture. Reaching beyond national frameworks, Curtin examines the prospect of a global Chinese audience that will include more viewers than in the United States and Europe combined. He draws on in-depth interviews with a diverse array of media executives plus a wealth of historical material to argue that this vast and increasingly wealthy market is likely to shake the very foundations of Hollywood's century-long hegemony.]

Dai, Jinhua. "The Criss-Cross Visions: Multi-Identification in the Artistic Film in Post-1990 Mainland China." Seminar paper in Chinese (Lingnan University; February 1998).

-----. "Rewriting Chinese Women: Gender Production and Cultural Space in the Eighties and Nineties." In Mayfair Mei Hui Yang, ed. Spaces of Their Own: Women's Public Sphere in Transnational China. Minneapolis: University of Minnesota Press, 1999, 191-206.

-----. “Postcolonialism and Chinese Cinema of the Nineties.” Tr. Harry H. Kuoshu. In Dai, Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua. Eds. Jing Wang and Tani Barlow. London: Verso, 2002, 49-70.

-----. “A Scene in the Fog: Reading the Sixth Generation Films.” Tr. Yiman Wang. In Dai, Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua. Eds. Jing Wang and Tani Barlow. London: Verso, 2002, 71-98.

-----. “Gender and Narration: Women in Contemporary Chinese Film.” Tr. Jonathan Noble. In Dai, Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua. Eds. Jing Wang and Tani Barlow. London: Verso, 2002, 99-150.

Dauncey, Sarah. "Screening Disability in the PRC: The Politics of Looking Good." China Information 21, 3 (Nov. 2007): 481-506.

Davis, Darrell William and Emily Yueh-yu Yeh. "Re-nationalizing China's Film Industry: Case Study on the China Film Group and Film Marketization." Journal of Chinese Cinemas 2, 1 (May 2008): 37-52.

[Abstract: In the mid 1990s ‘transnational’ meant a pan-Chinese universalism trying to reconcile the differences and conflicts among the mainland, colonial Hong Kong, KMT Taiwan and the Chinese diaspora. But since the rise of the new China market and the centralization of Chinese blockbusters, the transnational currency may have been replaced by an intra-national, if not hyper-national tender. The essay addresses the tension and dialectics between marketization and protectionism of the national screen industry in China. A political-economic approach analyzes the rise of the China Film Group (CFG) and its attempt to re-nationalize and transnationalize Chinese cinema. Accounting for recent developments of pan-Asian strategy, and CEPA, this case study will explain tensions inherent in China's integration to global media. CFG presents marketization as liberalization but this is part of a scheme to utilize the market to consolidate state power.]

Donald, Stephanie. "Symptoms of Alienation: The Female Body in Recent Chinese Film." Continuum (April 1998): 9-103.

Guo, Wu. "Subversion of the Feminist Myth in Chinese Film and Its Dilemma." Asian Cinema 16, 1 (Spring/Summer 2005): 325-33. [looks at the representation of women in Sixth Generation films such as Green Tea, Unknown Pleasures, Beijing Bicycles, etc.]

Hao, Xiaoming. & Chen, Y. "Film and Social Change: The Chinese Cinema in the Reform Era." Journal of Popular Film and Television, 28 (Spring 2000): 36-45.

Harding, James. "China's Cultureless Revolution." Prospect (Jan. 1998).

Jiang, Hong, ed. "The Cultural Configuration of Literature and Film in the 1990s China: A New Perspective," a special issue of The China Review 3, 1 (Spring 2003).

Johnson, Ian. "True Grit: You Won't See China's Sixth Generation of Film Directors at Cannes." Far Eastern Economic Review (July 11, 1996): 46-47.

Karl, Rebecca E. "The Burdens of History: Lin Zexu (1959) and the Opium War (1997)." In Xudong Zhang, ed., Whither China? Intellectual Politics in Contemporary China. Durham: Duke UP, 2001.

Keyser, Anne Sytske and Han The. "Recent Developmentss in Chinese Cinema: An Interview with Film Critic Tony Rayns." China Information 7, 4 (Spring 1993): 39-47.

Knight, Deirdre Sabina. “Madness and Disability in Contemporary Chinese Film.” Journal of Medical Humanities 27, 2 (Summer 2006): 93-103.

[ABSTRACT: This article draws on recent research in the medical humanities to analyze two contemporary Chinese films: Zhang Yuan’s Sons (1996) and Zhou Xiaowen’s The Common People (1998). By portraying psychic and physical anguish in ways that refuse to divorce biology from culture, such films offer rare moral dialogues on biomedical issues and contribute a cross-cultural perspective invaluable to the task of responding to illness and suffering.]

Kong, Shuyu. “Big Shot from Beijing: Feng Xiaogang’s He Sui Pian and Contemporary Chinese Commercial Film.” Asian Cinema 14, 1 (Spring/Summer 2003): 175-87.

Kraicer, Shelly. "Man, Woman and Everything in Between." [review of Man, Man, Woman, Woman]. Virtual China.

-----. "Chinese Language Films at the 2004 Toronto International Film Festival." MCLC Resource Center Publication, 2004. [reviews films from mainland China and Hong Kong]

----. "Lost in Time, Lost in Space: Beijing Film Culture in 2004." Cinemascope 21 (Winter 2004).

Kuoshu, Harry. "Beyond the Yellow Earth: The Postsocialist City as a Cinematic Space of Anxiety." American Journal of Chinese Studies 4, 1 (1997): 50-72.

Lai, Linda Chiu-Han. "Whither the Walker Goes: Spatial Practices and Negative Poetics in 1990s Chinese Urban Cinema." In Zhen Zhang, ed., The Urban Generation: Chinese Cinema and Society at the Turn of the 21st Century. Durham: Duke UP, 2007, 205-39.

Lam, Adam. Identity, Tradition and Globalism: Post-Cultural Revolution Chinese Feature Films 1977-1996. VDM Verlag, 2008.

Larson, Wendy. "He Yi’s The Postman: The Workspace of a New Age Maoist." In Bryna Goodman and Wendy Larson, eds., Gender in Motion: Divisions of Labor and Cultural Change in Late Imperial and Modern China. Lanham: Rowman and Littlefield, 2005. Rpt. in Larson, From Ah Q to Lei Feng: Freud and Revolutionary Spirit in 20th Century China. Stanford: Stanford UP, 2009, 197-22.

Lau, Jenny Kwok Wah. “Globalization and Youthful Subculture: The Chinese Sixth Generation Films at the Dawn of the New Century.” In Jenny Kwok Wah Lau, ed., Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia. Philadelphia: Temple UP, 2003, 13-27.

-----. "Chinese Cinema Revisits the City: Beijing Trilogy and Global Urbanism in the 1990s." In See-kam Tan, Peter X. Feng, and Gina Marchetti, eds., Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora. Philadelphia: Temple University Press, 2009, 220-33. [deals with Good Morning Beijing, Beijing Bastards, and City Paradise]

Li, Jie. "From Auto-Ethnography to Autobiography: Representations of the Past in Contemporary Chinese Cinema." Senses of Cinema 45 (Oct.-Dec. 2007).

Lim, Song Hwee. "Celluloid Comrades: Male Homosexuality in Chinese Cinema in the 1990s." China Information 16, 4 (2002): 68-88.

Lin, Mu. "A Great Media Wall--China's Film Policy and Its Impact on U.S. Film Exporters." Asian Cinema 18, 1 (Spring/Summer 2007): 91-103.

Lin, Sylivia Li-chun. "The Politics of Filmmaking and Movie Watching." In Lional M. Jensen and Timothy B. Weston, eds., China's Transformations: The Stories beyond the Headlines. Lanham, MD: Rowman and Littlefield, 2007.

Lin, Xiaoping. Children of Marx and Coca-Cola: Chinese Avant-garde Art and Independent Cinema. Honolulu: University of Hawaii Press, 2010.

[Abstract: ... affords a deep study of Chinese avant-garde art and independent cinema from the mid-1990s to the beginning of the twenty-first century. Informed by the author’s experience in Beijing and New York—global cities with extensive access to an emergent transnational Chinese visual culture—this work situates selected artworks and films in the context of Chinese nationalism and post-socialism and against the background of the capitalist globalization that has so radically affected contemporary China. It juxtaposes and compares avant-garde artists and independent filmmakers from a number of intertwined perspectives, particularly in their shared avant-garde postures and perceptions.]

Liu, Jin. "The Rhetoric of Local Languages as the Marginal: Chinese Underground and Independent Films by Jia Zhangke and Others." Modern Chinese Literature and Culture 18, 2 (Fall 2006): 163-205.

Liu, Lihsing. "The Chinese Cinema in the 1980s: Toward a Systematic Study of Its Socialist Realism." PhD dissertation. Brigham Young University.

-----. "Return to Commonality-About Director He Qun." China Screen 3 (1994): 24-25.

Liu, Xinmin. "Play and Being Playful: The Quotidian in Cinematic Remembrance of the Mao Era." Asian Cinema 15, 1 (Spring 2004): 73-89.

-----. "'Place' Construction: Innovative Reworking of Fiction in Recent Chinese Films." Journal of Contemporary China 57 (Nov. 2008): 699-716.

Lu, Sheldon H. "Tear Down the City: Reconstructing Urban Space in Contemporary Chinese Popular Cinema and Avant-Garde Art." In Zhen Zhang, ed., The Urban Generation: Chinese Cinema and Society at the Turn of the 21st Century. Durham: Duke UP, 2007, 137-60.

Lu, Tonglin. Confronting Modernity in the Cinemas of Taiwan and Mainland China. Cambridge: Cambridge UP, 2002.

-----. "Trapped Freedom and Localized Globalism." In Pickowicz and Yingjin Zhang eds., From Underground to Independent: Alternative Film Culture in Contemporary China. Lanham, MD: Rowman and Littlefield, 2006, 123-42.

Mak, Monica. "East West Movie Magic: Shadow Magic as Hybrid Art with Third Space." Yishu: Journal of Contemporary Chinese Art 1, 1 (Spring 2002): 68-82.

Marchetti, Gina. From Tian'anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens, 1989-1997. Philadelphia: Temple UP, 2006. [press blurb]

Martin, Fran. Situating Sexualities: Queer Representation in Taiwanese Fiction, Film and Public Culture. HK: Hong Kong University Press, 2003. [reviewed by Kam Louie in Intersections 10 (Aug. 2004)].

McGrath, Jason. "The New Formalism Mainland Chinese Cinema at the Turn of the Century." In Jie Lu, ed., China's Literary and Cultural Scenes at the Turn of the 21st Century. London: Routledge, 2008.

-----. Postsocialist Modernity: Chinese Cinema, Literature, and Criticism in the Market Age. Stanford: Stanford UP, 2008.

Nakajima, Seio. "Film Clubs in Beijing: The Cultural Consumption of Chinese Indepedent Films." In Pickowicz and Yingjin Zhang eds., From Underground to Independent: Alternative Film Culture in Contemporary China. Lanham, MD: Rowman and Littlefield, 2006, 161-.

Ni, Zhen. "Reflections on Chinese Cinema in the Context of Globalization." Tr. Lingling Pan. Asian Cinema 18, 1 (Spring/Summer 2007): 248-52.

Nie, Jing. "A City of Disappearance: Trauma, Displacement, and Spectral Cityscape in Contemporary Chinese Cinema." In Sheldon Lu and Jiayan Mi, eds., Chinese Ecocinema: In the Age of Environmental Challenge. HK: Hong Kong University Press, 2009, 195-213.

Noble, Jonathan. "Titanic in China: Transnational Capitalism as Official Ideology?" Modern Chinese Literature and Culture 12, 1 (Spring 2000): 164-97.

Palmer, Augusta. "Scaling the Skyscraper: Images of Cosmopolitan Consumption in Street Angel (1937) and Beautiful New World (1998)." In Zhen Zhang, ed., The Urban Generation: Chinese Cinema and Society at the Turn of the 21st Century. Durham: Duke UP, 2007, 181-204.

Pang, Laikwan . "Piracy/Privacy: The Despair of Cinema and Collectivity in China."boundary 2 31, 3 (Fall 2004): 101-124.

Pickowicz, Paul G. and Yingjin Zhang, eds. From Underground to Independent: Alternative Film Culture in Contemporary China. Lanham, MD: Rowman and Littlefield, 2006. [publisher's blurb]

Pickowicz, Paul G. "Social Dynamics of Underground Filmmaking in China." In Pickowicz and Yingjin Zhang eds., From Underground to Independent: Alternative Film Culture in Contemporary China. Lanham, MD: Rowman and Littlefield, 2006, 1-22.

Qian, Kun. "Love or Hate: The First Emperor on Screen--Three Movies on the Attempted Assasination of the First Emperor Qin Shihuang." Asian Cinema 20, 2 (Fall/Winter 2009): 39-67.

Rayns, Tony. "China: Censors, Scapegoats and Bargaining Chips." Index on Censorship 6 (1995): 69-81.

Reynaud, Berenice. Nouvelles Chines, Nouveaux Cinémas. Paris: Cahiers du cinéma, 1999.

-----. "Modern Times." Film Comment 39, 5 (Sept./Oct. 2003). [overview of recent Chinese film]

-----. "Chinese Women Directors: Strong Voices from the Margins." Cinemaya 58 (2003).

Robinson, Bruce. " Chinese Mainland New Era Cinema and Tian'anmen." Asian Cinema 10, 1 (1998): 37-56.

Rosen, Stanley. "The Wolf at the Door: Hollywood and the Film Market in China from 1994-2000." Published in Eric J. Heikkila and Rafael Pizarro, eds., Southern California in the World and the World in Southern California. Greenwood Publishing Group, 2002, 49-78.

-----. "China Goes Hollywood." Foreign Policy (January/Feb., 2003): 94-98.

-----, ed., "The China Film Market." Chinese Education and Society. 32, 1 (Jan.-Feb. 1999).

----. "Hollywood, Globalization and Film Markets in Asia: Lessons for China?" 2nd Chinese Advanced Forum on Visual Arts (Shanghai: Nov. 2002). [downloadable pdf version from Asian Film Connections]

Shi, Yaohua. "Maintaining Law and Order in the City: New Tales of the People's Police." In Zhen Zhang, ed., The Urban Generation: Chinese Cinema and Society at the Turn of the 21st Century. Durham: Duke UP, 2007, 316-43/.

Stanley Rosen, ed. "'The Troubleshooters,' by Wang Shuo." Chinese Education and Society 31, 1 (Jan.-Feb. 1998). [translation of the filmscript with an editorial introduction]

"Special Chine." special segment devoted to contemporary Chinese film. Cahiers du Cinema 586 (January 2004): 10-41. [essays on: Tian Zhuangzhuang's Springtime in a Small Town; an interview with Tian Zhuanzhuang; on Jia Zhangke; independent film; Wang Bing's Tiexi Qu; the fever for documentary; the San Yuan Li project in Guangdong; and Li Yang's Blind Shaft]

Sun, Shaoyi. "Under the Shadow of Commercialization: The Changing Landscape of Chinese Cinema." Presented at "Filmic Text and Media Production in Transnational China" Conference (Los Angeles); published in Celluloid (April 1999).

-----. "Global Image Consumption and Chinese Cinema: Random Thoughts on Xiu Xiu: The Sent Down Girl." Unpublished manuscript on the Asian Connections website.

Sun, Shaoyi and Li Xun, eds. Lights! Action! Kai shi!: In Depth Interviews with China's New Generation of Move Directors. Norwalk, CT: Eastbridge, 2008. [includes interviews with Guan Hu, Jia Zhangke, Jiang Wen, Jin Chen, Li Xin, Liu Binjian, Lou Ye, Lu Chuan, Lu Xuecheng, Ma Liwen, Meng Qi, Shi Runjiu, Tang Danian, Wang Chao, Wang Guangli, Wang Quanan, Wang Xiaoshuai, Xu Jinglei, Zhang Ming, Zhang Yang, and Zhang Yuan]

Stephen Teo [interviews with Li Yang]. "There is No Sixth Generation: Director Li Yang on Blind Shaft and His Place in Chinese Cinema." Senses of Cinema 27 (July/Aug. 2003).

Tang, Xiaobing. "Why Should 2009 Make a Difference? Reflections on a Chinese Blockbuster." MCLC Resource Center Publication (December 2009).

Vanderstaay, Lara. "Female Consciousness in Contemporary Chinese Women Directors' Films: A Case Study of Ma Xiaoying's Gone is the One Who Held Me Dearest in the World." Intersections: Gender and Sexuality in Asia and the Pacific 16 (Feb. 2008).

Wang, Shujen. Framing Piracy: Globalization and Film Distribution in Greater China. Lanham, MD: Rowman and Littlefield, 2003.

Wang, Ting. "Hollywood's Crusade in China prior to China's WTO Accession." Jump Cut 49 (Spring 2007).

Ward, Julian. "Serving the People in the Twenty-first Century: Zhang Side and the Revival of the Yan'an Spirit." Screening the Past 22 (Dec. 2007).

Wedell-Wedellsbord, Anne. "Chinese Literature and Film in the 1990s." In Robert Benewick and Paul Wingrove, eds., China in the 1990s. Basingstoke: Macmillan Press, 1995, 224-33.

Williams, Louise. "Troubled Masculinities: Questionning Gender and Sexuality in Liu Bingjian's Nannan Nunu (Men and Women). In Stephanie Dennison and Song Hwee Lim, eds., Remapping World Cinema: Identity, Culture and Politics in Film. NY: Columbia UP, 2007.

Wu, Xianggui. The Chinese Film Industry Since 1977. PhD dissertation. Eugene: University of Oregon.

Xiao, Hui. "Chinese Melodrama, Japanese Nostalgia." Asian Cinema 16, 2 (Fall/Winter 2005): 63-84. [deals mostly with Huo Jianqi's film Nuan, an adaptation of a Mo Yan short story]

-----. "Cross-Cultural Nostalgia and Visual Consumption: On the Adaptation and Japanese Reception of Huo Jianqi's 2003 Film Nuan." Concentric: Literary and Cultural Studies 31, 2 (July 2005): 227-48.

Xie, Fei. "Art Film is Immortal and National Film Lives Forever." Tr. Chen Xiaoling. Asian Cinema 10, 1 (1998): 86-92.

Xu, Gary G. Sinascape: Contemporary Chinese Cinema. Lanham, MD: Rowman and Littlefield, 2007. [publisher's blurb; including discussion of films like Hero, House of Flying Daggers, Kung Fu Hustle, Devils on the Doorstep, Suzhou River, Beijing Bicycle, Millennium Mambo, Goodbye Dragon Inn, and Hollywood Hong Kong, the book emphasizes the transnational nature of contemporary Chinese cinema.]

Xu, Ying. "Animation Film Production in Beijing." Asian Cinema 11, 2 (Fall/Winter 2000): 60-66.

-----. "Impact of Globalization on the Cinema in China." Asian Cinema (Spring/Summer 2002): 39-43.

Xu, Ying and Xu Zhongquan. "A 'New' Phenomenon of Chinese Cinema: Happy-New-Year Comic Movie." Asian Cinema (Spring/Summer 2002): 112-27.

Yeh, Emily Yueh-yu and Darrell William Davis. "Re-nationalizing China's Film Industry: Case Study on the China Film Group and Film Marketization." Journal of Chinese Cinemas 2, 1 (May 2008): 37-51.

[Abstract: In the mid 1990s ‘transnational’ meant a pan-Chinese universalism trying to reconcile the differences and conflicts among the mainland, colonial Hong Kong, KMT Taiwan and the Chinese diaspora. But since the rise of the new China market and the centralization of Chinese blockbusters, the transnational currency may have been replaced by an intra-national, if not hyper-national tender. The essay addresses the tension and dialectics between marketization and protectionism of the national screen industry in China. A political-economic approach analyzes the rise of the China Film Group (CFG) and its attempt to re-nationalize and transnationalize Chinese cinema. Accounting for recent developments of pan-Asian strategy, and CEPA, this case study will explain tensions inherent in China's integration to global media. CFG presents marketization as liberalization but this is part of a scheme to utilize the market to consolidate state power.]

Yu, Hongmei. The Politics of Images: Chinese Cinema in the Context of Globalization. Ph.d. diss. Eugene: University of Oregon, 2008.

Yun, Duo. "Liu Miaomiao-A Fervent Director." China Screen 3 (1994): 22-23.

Zhang, Benzi. "Re-Siting the Global/Re-Sighting the Local: The Politics of Cultural Diaspora." In Kwok-kan Tam et al., eds., Sights of Contestation: Localism, Globalism and Cultural Production in Asia and the Pacific. HK: The Chinese University Press, 2002, 35-56.

Zhang, Jia-xuan and Pat Duffy. "China: After the Crackdown." Sight and Sound 60 (1990/91): 3-4.

Zhang, Yingjin. "Chinese Cinema and Transnational Cultural Politics: Reflections on Film Festivals, Film Productions, and Film Studies." Journal of Modern Literature in Chinese 2, 1 (July 1998): 105-32.

-----. "My Camera Doesn't Lie?: Truth, Subjectivity, and Audience in Chinese Independent Film and Video." In Pickowicz and Yingjin Zhang eds., From Underground to Independent: Alternative Film Culture in Contemporary China. Lanham, MD: Rowman and Littlefield, 2006, 23-46.

-----. "Rebel Without a Cause? China's New Urban Generation and Postsocialist Filmmaking." In Zhen Zhang, ed., The Urban Generation: Chinese Cinema and Society at the Turn of the 21st Century. Durham: Duke UP, 2007, 49-80.

-----. Cinema, Space, and Polylocality in a Globalizing China. Honolulu: University of Hawaii Press, 2009.

[Abstract: Yingjin Zhang proposes “polylocality” as a new conceptual framework for investigating the shifting spaces of contemporary Chinese cinema in the age of globalization. Questioning the national cinema paradigm, Zhang calls for comparative studies of underdeveloped areas beyond the imperative of transnationalism. The book begins by addressing theories and practices related to space, place, and polylocality in contemporary China before focusing on the space of scholarship and urging scholars to move beyond the current paradigm and explore transnational and comparative film studies. This is followed by a chapter that concentrates on the space of production and surveys the changing landscape of postsocialist filmmaking and the transformation of China’s urban generation of directors. Next is an examination of the space of polylocality and the cinematic mappings of Beijing and a persistent “reel” contact with polylocality in hinterland China. In the fifth chapter Zhang explores the space of subjectivity in independent film and video and contextualizes experiments by young directors with various documentary styles. Chapter 6 calls attention to the space of performance and addresses issues of media and mediation by way of two kinds of playing: the first with documentary as troubling information, the second with piracy as creative intervention. The concluding chapter offers an overview of Chinese cinema in the new century and provides production and reception statistics.]

Zhang, Zhen, ed., The Urban Generation: Chinese Cinema and Society at the Turn of the 21st Century. Durham: Duke UP, 2007.

[Abstract: Since the early 1990s, while mainland China’s state-owned movie studios have struggled with financial and ideological constraints, an exciting alternative cinema has developed. Dubbed the “Urban Generation,” this new cinema is driven by young filmmakers who emerged in the shadow of the events at Tiananmen Square in 1989. What unites diverse directors under the “Urban Generation” rubric is their creative engagement with the wrenching economic and social transformations underway in China. Urban Generation filmmakers are vanguard interpreters of the confusion and anxiety triggered by the massive urbanization of contemporary China. This collection brings together some of the most recent original research on this emerging cinema and its relationship to Chinese society. Contributors: Chris Berry, Yomi Braester, Shuqin Cui, Linda Chiu-han Lai, Charles Leary, Sheldon H. Lu, Jason McGrath, Augusta Palmer, Bérénice Reynaud, Yaohua Shi, Yingjin Zhang, Zhang Zhen, Xueping Zhong] [Duke UP blurb]

-----. "Urban Dreamscape, Phantom Sisters, and the Identity of an Emergent Art Cinema." In Zhen Zhang, ed., The Urban Generation: Chinese Cinema and Society at the Turn of the 21st Century. Durham: Duke UP, 2007, 344-88.

Zhao, Wentao. "Huang Jun and his Triology." China Screen 4 (1994): 30-31.

Zhong, Xueping. "Mr. Zhao On and Off the Screen: Male Desire and Its Discontents." In Zhen Zhang, ed., The Urban Generation: Chinese Cinema and Society at the Turn of the 21st Century. Durham: Duke UP, 2007, 295-315.

Zhu, Ying. Chinese Cinema During the Era of Reform: The Ingenuity of the System. NY: Praeger Publishers, 2003

-----. "Commercialization and Chinese Cinema's Post-Wave." Consumption, Markets, and Culture 5, 3 (Sept. 2002): 187-209.

-----. "Chinese Cinema's Economic Reform from the mid 1980s to the mid 1990s." Journal of Communication 52, 4 (2002): 905-921.

-----. "Cinematic Modernization and Chinese Cinema's First Art Wave." Quarterly Review of Film & Video 18, 4 (2001).

-----. "From New Wave to Post New Wave: Chinese Fifth Generation's Cinematic Transition." Asian Culture Quarterly 2 (Summer 2000).

-----. "Commercialism and Nationalism: Chinese Cinema's First Wave of Entertainment Films." CineAction 47 (Summer 1998).

-----. "Chinese Underground Filmmaking." In David Gerstner, ed., International Encyclopedia of Queer Culture – Contemporary Gay, Lesbian, Bisexual and Transexual Cultures. London: Routledge: 2006.

-----. “Chinese Cinema’s Commercial Wave." In Luis Miranda, ed., Contemporary Chinese Cinema. Granada, Spain: Festival Cines del Sur, 2007, 157-92.

Berry, Chris. "Betelnut Beauty." Cinemaya (Autumn 2001): 29-30.

-----. "Haunted Realisms: Postcoloniality and the Cinema of Chang Tso-chi." In Darrell William Davis and Ru-Shou Robert Chen, eds., Cinema Taiwan: Politics, Popularity and State of the Arts. NY: Routledge, 2007, 33-50.

-----. "Re-writing Cinema: Markets, Languages, Cultures in Taiwan." In Shih, Fang-long, Stuart Thompson, and Paul-Francois Tremlett, eds., Re-Writing Culture in Taiwan. London and NY: Routledge, 2009, 140-153.

Berry, Chris and Feii Lu, eds., Island on the Edge: Taiwan New Cinema and After. HK: Hong Kong University Press, 2005.

Braester, Yomi. "Shards of Memory: Papa Can you Hear Me Sing? and the Demolished Spaces of Taiwan Urban Cinema." Conference Paper, Remapping Taiwan (UCLA, Oct. 13-15, 2000).

-----. "The Dream of Flying: Taipei and Beijing Cinematic Poetics of Demolition." Tamkang Review (Summer 2000).

-----. "If We Could Remember Everything, We Would Be Able to Fly: Taipei's Cinematic Poetics of Demolition." Modern Chinese Literature and Culture 15, 1 (Spring 2003): 29-62.

-----. "Tales of a Porous City: Public Residences and Private Streets in Taipei Films." In Charles Laughlin, ed., Contested Modernity in Chinese Literature. NY: Palgrave Macmillan, 2005, 157-70.

-----. "The Impossible Task of Taipei Films." In Darrell William Davis and Ru-Shou Robert Chen, eds., Cinema Taiwan: Politics, Popularity and State of the Arts. NY: Routledge, 2007, 51-59.

Braeester, Yomi and Nicole Huang, geust editors. Special issue on Taiwan cinema of Modern Chinese Literature and Cutlure 15, 1 (Sping 2003).

Chang, Hsiao-hung. "The Unbearable Lightness of Globalization: On the Transnational Flight of Wuxia Films." In Darrell William Davis and Ru-Shou Robert Chen, eds., Cinema Taiwan: Politics, Popularity and State of the Arts. NY: Routledge, 2007, 95-107.

Chang, Hsiao-hung and Chih-hung Wang. "Mapping Taipei's Landscape of Desire: Deterritorialization and Reterritorialization of the Family Park." In Chen Ruxiu, ed., Xunzhao dianying zhong de Taibei (Focus on Taipei through Cinema). Taipei: Wanxiang, 1995, 115-25.

Chang, Jinn-Pei. "The Mind Space of Taipei's Adolescents." In Chen Ruxiu, ed., Xunzhao dianying zhong de Taibei (Focus on Taipei through Cinema). Taipei: Wanxiang, 1995, 101-103.

Chen Feibao, ed. Taiwan dianying shihua (A history of Taiwan cinema). Beijing: Zhongguo dianying, 1988.

Chen, Kuan-hsing. "Taiwanese New Cinema." In John Hill and Pamela Gibson, eds. World Cinema: Critical Approaches. NY: Oxford UP, 2000, 173-77.

-----. "A Borrowed Life in Banana Paradise: De-Cold War/Decolonization, or Modernity and Its Tears." In Chris Berry and Feii Lu, eds., Island on the Edge: Taiwan New Cinema and After. HK: Hong Kong University Press, 2005, 39-54.

Chen, Ru-shou Robert. "Focus on Taipei: An Introduction." In Chen Ruxiu, ed., Xunzhao dianying zhong de Taibei (Focus on Taipei through Cinema). Taipei: Wanxiang, 1995, 17-19.

Chen Ruxiu, ed., Xunzhao dianying zhong de Taibei (Focus on Taipei through Cinema). Taipei: Wanxiang, 1995, 138-43. [articles in both Chinese and English]

Cheng, Pei-kai. "From Shanghai to Taipei: Metropolis in Spatial, Cultural, and Existential Consciousness in Chinese Cinema, 1930-1990." In Chen Ruxiu, ed., Xunzhao dianying zhong de Taibei (Focus on Taipei through Cinema). Taipei: Wanxiang, 1995, 138-43.

Chiao, Hsiung-ping, ed. Taiwan xin dianying (New Taiwan cinema). Taibei: Shibao, 1988.

-----. "The Emergence of the New Cinema of Taiwan." Asian Cinema 5, 1 (1990): 9-11.

-----. "The Distinct Taiwanese and Hong Kong Cinemas." In Chris Berry, ed., Perspectives on Chinese Cinema. London: British Film Institute, 1991, 155-65.

-----. "Second Wave from Taiwan: Three Interviews." Cinemaya 34 (1996): 4-13.

Chiu, Kuei-fen. "Taiwan and Its Spectacular Others: Aesthetic Reflexivity in Two Documentaries by Women Filmmakers from Taiwan." Asian Cinema 16, 1 (Spring/Summer 2005): 98-107.

-----. "The Vision of Taiwanese New Democracy." In Darrell William Davis and Ru-Shou Robert Chen, eds., Cinema Taiwan: Politics, Popularity and State of the Arts. NY: Routledge, 2007, 17-32.

-----. "The Subaltern Woman's Voice and the (Film)making of Modern Taiwan." In Kwok-kan Tam and Terry Siu-han Yip, eds., Gender, Discourse and the Self in Literature: Issues in Mainland China, Taiwan and Hong Kong: HK: The Chinese University Press, 2009, 165-183.

Chong, Woei Lien, "Taiwan Cinema at the 1997 International Rotterdam Film Festival: Comedy and Small-Scale Family Drama." China Information 11, 4 (Spring 1997): 105-116.

"Cinema." The Repubic of China Yearbook--Taiwan, 2001.

Davis, Darrell William. "Trendy in Taiwan: Problems of Popularity in the Island's Cinema." In Darrell William Davis and Ru-Shou Robert Chen, eds., Cinema Taiwan: Politics, Popularity and State of the Arts. NY: Routledge, 2007, 146-57.

Davis, Darrel William and Ru-Shou Robert Chen, eds., Cinema Taiwan: Politics, Popularity and State of the Arts. NY: Routledge, 2007.

Deslandes, Jeanne (with Penny Lin, Kelly Chu-Chun Fan, and Lucia Tai-Yun Cheng). "Dancing Shadows of Film Exhibitions: Taiwan and the Japanese Influence." Screening the Past (Nov. 2000).

Duan, Chen-Su. "A Sociological Study of Taipei Through Films, 1960-1990." In Chen Ruxiu, ed., Xunzhao dianying zhong de Taibei (Focus on Taipei through Cinema). Taipei: Wanxiang, 1995, 72-77.

Eberhard, Wolfram. The Chinese Silver Screen: Hong Kong and Taiwanese Motion Pictures in the 1960s. Taibei: Orient Culture Service, 1972.

Hu, Brian. "Formula 17: Testing a Formula for Mainstream Cinema in Taiwan." Senses of Cinema 34 (Jan.-Mar. 2005)

Huang Ren. Beiqing Taiyu pian (The tragedy of Taiwanese language film). Taibei: Wanxiang tushu, 1994. [history of Taiwanese language film]

Kellner, Douglas. "New Taiwan Cinema in the 1980s." Jump Cut 42 (1998): 101-15.

Kowallis, Jon. "The Diaspora in Postmodern Taiwan and Hong Kong Film: Framing Stan Lai's The Peach Blossom Land with Allen Fong's Ah Ying." In Sheldon Lu, ed., Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997.

Kramer, Stefan. "Transcultural Narrations of the Local: Taiwanese Cinema Between Utopia and Heterotopia." In Natascah Gentz and Stefan Kramer, eds., Globalization, Cultural Identities, and Media Representations. Albany: SUNY Press, 2006, 45-58.

Lee, Daw-Mng. "A Preliminary Study of the Market for Documentaries in Taiwan." Asian Cinema 20, 2 (Fall/Winter 2009): 68-82.

Lee, Ching-Chih. "The Construct and Transformation of Taipei's City Image." In Chen Ruxiu, ed., Xunzhao dianying zhong de Taibei (Focus on Taipei through Cinema). Taipei: Wanxiang, 1995, 27-33.

Lee, Tai-Dow. "Rereading the Cultural Significance of Taiwan's Cinema of the 1990s." Asian Cinema 7, 1 (1995): 3-11.

Li, Yongwei and Peng, Xiaofen. "Taiwan 'Xindianying' shiqi wei gongzouahe fangwenlu" (An interview with seventeen filmmakers in the Taiwanese new cinema movement). Dianying xinshang 5, 2 (1987): 5-16.

Li, Youxin. Gangtai liu da daoyan (Six great directors in Hong Kong and Taiwan). Taiwan: Zili wanbao, 1986.

Liao, Chao-yan. "Borrowed Modernity: History and the Subject in A Borrowed Life." In Xudong Zhang and Arif Dirlik, eds., Postmodernism and China. Durham: Duke UP, 2000, 275-93.

Liao, Gene-Fon. "The Vanished Feature: A Comparison in Cinematic Practice between Taiwanese and Mandarin Films in the 1960s." In Chen Ruxiu, ed., Xunzhao dianying zhong de Taibei (Focus on Taipei through Cinema). Taipei: Wanxiang, 1995, 51-55.

Liao, Ping-hui. "Rewriting Taiwanese National History: The February 28 Incident as Spectacle." Public Culture 5 (1993): 281-296.

Lim, Song Hwee. "Celluloid Comrades: Male Homosexuality in Chinese Cinema in the 1990s." China Information 16, 4 (2002): 68-88.

Lin, Sylvia Li-chun. Representing Atrocity in Taiwan: The 2/28 Incident and White Terror in Fiction and Film. NY: Columbia UP, 2007. [publisher's blurb]

-----. "Between Past and Future: Documentary Films on the 2/28 Incident in Taiwan." Modern Chinese Literature and Culture 21, 1 (Spring 2009): 46-71.

Lin, Wenchi. "The Representation of Taipei in Taiwan Films." In Chen Ruxiu, ed., Xunzhao dianying zhong de Taibei (Focus on Taipei through Cinema). Taipei: Wanxiang, 1995, 86-89.

Lu Feiyi. Taiwan dianying: zhengzhi, jingji, meixue (1994-1994) (Taiwanese cinema: politics, economics and aesthetics). Taipei: Yuanliu 1998.

----- [Lu, Feii]. "Another Cinema: Darkness and Light." In Chris Berry and Feii Lu, eds., Island on the Edge: Taiwan New Cinema and After. HK: Hong Kong University Press, 2005, 137-48.

Lu, Sheldon H. China, Transnational Visuality, Global Postmodernity. Stanford: Stanford UP, 2002. [examines film, television, avant-garde art, literature, critical theory, and intellectual history]

Lü Sushang. Taiwan dianying xiju shi (History of Taiwan cinema and drama). Taipei: Dongfang, 1961.

Lu, Tonglin. Confronting Modernity in the Cinemas of Taiwan and Mainland China. Cambridge: Cambridge UP, 2002.

Marchetti, Gina. "Video Frames, Cinemascapes, and Cyberspace: Exploring Shu Lea Cheang's Fresh Kill." positions 9, 2 (Fall 2001): 401-22. [Project Muse link]

Martin, Fran. Situating Sexualities: Queer Representations in Taiwanese Fiction, Film and Public Culture. HK: University of Hong Kong Press, 2003.

-----. "Taiwan (Trans)national Cinema: The Far-flung Adventures of a Taiwanese Tomboy." In Darrell William Davis and Ru-Shou Robert Chen, eds., Cinema Taiwan: Politics, Popularity and State of the Arts. NY: Routledge, 2007, 95-107. [focuses on Yee Chih-yen's Blue Gate Crossing, 2002]

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Nornes, Mark Abe and Yueh-yu Yeh. "Taiwanese Cinema." A City of Sadness webproject.

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Park, Seung Hyun. "New Taiwanese Cinema and Its Historical Meanings." Asian Cinema 14, 2 (Fall/Winter 2003): 123-44.

Sato, Tadao. "A Passage to Taiwan." Cinemaya 15 (1992): 4-8.

Shen, Shiao-Ying. "Where Has All the Capital Gone? The State of Taiwan's Film Investment." Cinemaya 30 (Aut. 1995): 4-12.

-----. "Locating Feminine Writing in Taiwan Cinema: A Study of Yang Hui-shang's Body and Sylvia Chang's Siao Yu." Post Script 20, 2/3 (Winter/Spring 2001): 115-23. Rpt. in Sheldon Lu and Yueh-Yu Yeh, eds., Chinese-Language Film: Historiography, Poetics, Politics. Honolulu: University of Hawai'i Press, 2005, 267-79.

Sheng, Virginia. "The Father Figure of Taiwan Film." Free China Review (Feb. 1995): 20-23.

Shiau, Hong-Chi. "Marketing Boys' Love: Taiwan's Independent Film, Eternal Summer, and Its Audiences." Asian Cinema 19, 1 (Spring/Summer 2008): 157-71.

Shih, Shu-mei. "Gender and a Geopolitical Desire: The Seduction of Mainland Women in Taiwan and Hong Kong Media." In Mayfair Mei Hui Yang, ed. Spaces of Their Own: Women's Public Sphere in Transnational China. Minneapolis: University of Minnesota Press, 1999, 278-307.

Significant Others: A Celebration of Cinema by Taiwanese Women (NY, August 2000).

A Survey of the Motion Picture Industry in the Republic of China. Taipei: Kwang Hwa, n.d.

Tweedie, James. "Morning in the New Metropolis: Taipei and the Gobalization of the City Film." In Darrell William Davis and Ru-Shou Robert Chen, eds., Cinema Taiwan: Politics, Popularity and State of the Arts. NY: Routledge, 2007, 116-30.

Wang, Shujen. Framing Piracy: Globalization and Film Distribution in Greater China. Lanham, MD: Rowman and Littlefield, 2003.

Wang, Tung. "Banana Paradise." Cinemaya 12 (1991): 52-53.

Wang, Wei. "Taipei in Transformation: Taiwanese Cinema from the 80s to the 90s." In Chen Ruxiu, ed., Xunzhao dianying zhong de Taibei (Focus on Taipei through Cinema). Taipei: Wanxiang, 1995, 62-63.

Wicks, James. "Two Stage Brothers: Tracing a Common Heritage in Early Films by Xie Jin and Li Xing." Modern Chinese Literature and Culture 12, 1 (Spring 2009): 174-212.

Williams, Tony. "The Road to Invincible Asia: Brigitte Lin Ching-hsia's Taiwanese Films." Asian Cinema 19, 1 (Spring/Summer 2008): 1-31.

Wu, Chia-Chi. "Festivals, Criticism and International Reputation of Taiwan New Cinema." In Darrell William Davis and Ru-Shou Robert Chen, eds., Cinema Taiwan: Politics, Popularity and State of the Arts. NY: Routledge, 2007, 75-91.

Wu, Meiling. "Postsadness Tawain New Cinema: Eat, Drink, Everyman, Everywoman." In Sheldon Lu and Yueh-Yu Yeh, eds., Chinese-Language Film: Historiography, Poetics, Politics. Honolulu: University of Hawai'i Press, 2005, 76-95.

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Ye Longyan. Guangfu chuqi Taiwan dianying shi (A history of Taiwan cinema in the early postwar period). Taipei: Guojia dianying ziliaoguan, 1995.

Yeh, Emily Yueh-yu. "The Road Home: Stylistic Renovations of Chinese Mandarin Classics." In Darrell William Davis and Ru-Shou Robert Chen, eds., Cinema Taiwan: Politics, Popularity and State of the Arts. NY: Routledge, 2007, 203-16.

Yeh, Emily Yueh-yu and Darrell Davis. Taiwan Film Directors: A Treasure Island. NY: Columbia UP, 2005. [Columbia UP abstract] [MCLC Resource Center review by James Tweedie]

Yeh, Long-Yann. "Historical Analysis of 'Taipei Experience' in Taiwanese-language Cinema." In Chen Ruxiu, ed., Xunzhao dianying zhong de Taibei (Focus on Taipei through Cinema). Taipei: Wanxiang, 1995, 42-43.

Yip, June. "Taiwanese New Cinema." In Geoffrey Nowell-Smith, ed., The Oxford History of World Cinema. Oxford: Oxford UP, 1995, 711-13.

-----. Envisioning Taiwan: Fiction, Cinema, and the Nation in the Cultural Imaginary. Durham: Duke UP, 2004.

-----. "Toward the Postmodern: Taiwanese New Cinema and Alternative Visions of Nation." In Yip, Envisioning Taiwan: Fiction Cinema and the Nation in the Cultural Imaginary. Durham, NC: Duke UP, 2004, 49-48.

Yue, Ming-Bao. "There Is No Place like Home: The Politics of Diasporic Identification in and around Taiwan Films of the 60s and 70s." Postcolonial Studies 6, 2 (2003).

Zhang, Yingjin. "Cinematic Remapping of Taipei: Cultural Hybridization, Heterotopias, and Postmodernity." Conference Paper, Remapping Taiwan (Oct. 13-15, 2000).

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-----. "Dialectics of Deception." Public Culture 11, 2 (1999): 347-63. [Project Muse link]

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-----. "Asian Martial-Arts Cinema, Dance, and the Cultural Languages of Gender." In See-kam Tan, Peter X. Feng, and Gina Marchetti, eds., Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora. Philadelphia: Temple University Press, 2009, 190-202.

Baird, David. "Hongkong's Theatre and Motion Picture Industry." Far Eastern Economic Review, 14 Oct. 1954: 497-501.

Barnard, Timothy P. "The Shaw Brothers' Malay Films." In Poshek Fu, ed., China Forever: The Shaw Borthers and Diasporic Cinema. Urbana: University of Illinois Press, 2008, 154-73. l.l

Berry, Chris. "Heterogeneity as Identity: Hybridity and Transnationality in Hong Kong and Taiwanese Cinema." Metro 91 (1992): 48-51.

Bordwell, David. Planet Hong Kong: Popular Cinema and the Art of Entertainment. Cambridge, MA: Harvard UP, 2000. [reviewed by Shelley Kraicer]

-----. "Aesthetics in Action: Kungfu, Gunplay, and Cinematic Expression." In Esther Yau, ed., At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota Press, 2001, 73-94.

Bren, Frank. "A Century Of Chinese Cinema: The 25th Hong Kong International Film Festival and Beyond." Senses of Cinema 14 (2001).

Chan, Evans. "Postmodernism and Hong Kong Cinema." In Xudong Zhang and Arif Dirlik, eds., Postmodernism and China. Durham: Duke UP, 2000, 294-322.

Chan, Natalia Sui Hung. "Rewriting History: Hong Kong Nostalgia Cinema and Its Social Practice." In Poshek Fu and David Desser, eds., The Cinema of Hong Kong: History, Arts, Identity. NY: Cambridge UP, 2000.

Chan, Stephen Ching-kiu. "Figures of Hope and the Filmic Imaginary of Jianghu in Contemporary Hong Kong Cinema." Cultural Studies 15, 3/4 (July 2001): 486-514.

Abstract: Through an extensive allegorical reading of films, this paper attempts to capture a certain cultural form of imagination in Hong Kong during the transitional period leading up to the historical handover of power in 1997. Dwelling on the world of signification conjured up through what I call the jianghu filmic imaginary,the analysis focuses on the ideological and utopian impulses registered in relation to a whole emotional complex of anxiety, bewilderment and despair in the works of some highly creative local filmmakers of the genre: Ching Siu-Tong, Ann Hui, Tsui Hark and Wong KarWai. The study draws theoretically from Castoriadis's notion of the social imaginary and Bloch's aesthetics of hope, to focus on the textual and contextual re-constructions of a number of very unconventional martial arts swordplay (wuxia) films made in Hong Kong in the last two decades: namely, Tsui's Butterfly Murders (1979), Hui's Romance of Book and Sword (1987), Ching/Tsui's Swordsman II (1992), and Wong's Ashes of Time (1994). By identifying the ideological and affective moments in the filmic imaginary,I want to trace what has been left in a ruined culture for utopian longings, and point to the presence/absence of 'hope' as the cultural imagination for an unknown and unknowable future (beyond 1997). It is my contention that an understanding of that peculiar form of popular imaginary at the unusual juncture of Hong Kong's history can begin with a critical attempt to cope with this subtle practice of hope, so as to recognize (or reject) it as mediation in the process of our collective cultural crisis, anticipation and identification.

Chang, Li-Mei. "Whose Fatal Ways: Mapping the Boundary and Consuming the Other in Border Crossing Films." In See-kam Tan, Peter X. Feng, and Gina Marchetti, eds., Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora. Philadelphia: Temple University Press, 2009, 177-89.

Charles, John. The Hong Kong Filmography, 1977-1997: A Complete Reference to 1,100 Films Produced by British Hong Kong Studios. Jefferson, N.C.: McFarland, 2000.

Cheng, Pei-Pei. "Reminiscences of the Life of an Actress in Shaw Brothers' Movietown." Trs. Jing Jing Chang and Jeff McClain. In Poshek Fu, ed., China Forever: The Shaw Brothers and Diasporic Cinema. Urbana: University of Illinois Press, 2008, 246-54.

Cheuk, Pak-Tong. "The Beginning of the Hong Kong New Wave: The Interactive Relationship Between Television and the Film Industry." Post Script: Essays in Film and the Humanities. Special issue on HK Cinema. 19, 1 (Fall 1999): 10-27.   

-----. Hong Kong New Wave Cinema (1978-2000). Bristol, UK: Intellect Books, 2008. [see press blurb]

[maps the birth and eventual decline of celebrated 'New Wave' in a fascinating and thorough manner. Tong relates the movement to a wider historical context of the developing society and culture of Hong Kong at that time. His study of the celebrated golden age of Hong Kong film contextualises 'New Wave' and describes its wide-reaching effects upon contemporary cinema in Hong Kong, the greater China region and far beyond. ]

Cheung, Esther M.K. and Chu Yiu-wai, eds. Between Home and World: A Reader in Hong Kong Cinema. New York: Oxford UP, 2004,

Chiao, Hsiung-ping. Xianggang dianying fengmao (Style of Hong Kong cinema). Taipei: Shibao, 1987.

-----. "The Distinct Taiwanese and Hong Kong Cinemas." In Chris Berry, ed., Perspectives on Chinese Cinema. London: British Film Institute, 1991.

The China Factor in Hong Kong Cinema (Xianggang dianying di Zhongguo mailuo). Hong Kong: Urban Council, 1990.

Chong, Woei Lien, "Ang Lee's Crouching Tiger, Hidden Dragon and Fruit Chan's Little Cheung: Two Chinese Highlights at the 2001 International Rotterdam Film Festival." China Information 15, 1 (2001):166-196.

Chu, Blanche. "The Ambivalence of History: Nostalgia Films Understood in the Post-Colonial Context." Hong Kong Cultural Studies Bulletin 8/9 (Spring/Summer 1998): 41-54.

Chu, Rolanda. "Swordsman II and The East is Red: The 'Hong Kong Film,' Entertainment, and Gender." Bright Lights Film Journal 13 (1994): 30-35, 46.

Chu, Yingchi. Hong Kong Cinema and National Cinema: Coloniser, Motherland and Self. Ph.d diss. Perth: Murdoch University, 2000.

-----. Hong Kong Cinema: Coloniser, Motherland and Self. New York, London: RoutledgeCurzon, 2002.

Chu, Yiu-wai. "(In)authentic Hong Kong: The '(G)local' Cultural Identity in Postcolonial Hong Kong Cinema." Post Script 20, 2/3 (Winter/Spring 2001): 147-56.

Chute, David, ed. "Midsection: Made in Hongkong." Film Comment 24, 3 (June 1988): 34-56.

Ciecko, Anne T. "Transnational Action: John Woo, Hong Kong, Hollywood." In Sheldon Lu, ed., Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997.

----- and Sheldon Lu. "The Heroic Trio: Anita Mui, Maggie Cheung, Michelle Yeoh: Self-Reflexivity and the Globalization of the Hong Kong Action Heroine." Post Script: Essays in Film and the Humanities. Special issue on HK Cinema. 19, 1 (Fall 1999).

Collier, Joelle. "A Repetition Compulsion: Discontinuity Editing, Classical Chinese Aesthetics, and Hong Kong's Culture of Disappearance." Asian Cinema 10, 2 (Spring/Summer 1999): 67-79.

Coogan, Pat. "Smoking Dragon." bcmagazine 13 (Jan. 17, 2002). [overview of HK film in the year 2001]

Curry, Ramona. "Bridging the Pacific with Love Eterne." In Poshek Fu, ed., China Forever: The Shaw Borthers and Diasporic Cinema. Urbana: University of Illinois Press, 2008, 174-98.

Curtin, Michael. "Industry on Fire: The Cultural Economy of Hong Kong Media." Post Script: Essays in Film and the Humanities. Special issue on HK Cinema. 19, 1 (Fall 1999): 28-51.

Dancer, Greg. "Film Style and Performance: Comedy and Kung Fu from Hong Kong." Asian Cinema 10, 1 (1998): 42-50.

Dannen, Fredric and Barry Long. Hong Kong Babylon: An Insider's Guide to the Hollywood of the East. NY: Hyperion, 1997.

De Seife, Ethan. "Chang Che." Senses of Cinema--Great Directors, a Critical Database.

Desslandes, Jeanne. "They Programmed Her to Kill: Black Cat, a Hong Kong Remake of Nikita." Tamkang Review (Winter 2002): 107-26.

Desser, David. "The Kung Fu Craze: Hong Kong Cinema's First American Reception." In Poshek Fu and David Desser, eds., The Cinema of Hong Kong: History, Arts, Identity. Cambridge: Cambridge UP, 2000, 19-43.

-----. "Diaspora and National Identity: Exporting 'China' through the Hong Kong Cinema." Post Script 20, 2/3 (Winter/Spring 2001): 124-36.

-----. "Fists of Legend: Constructing Chinese Identity in the Hong Kong Cinema." In Sheldon Lu and Yueh-Yu Yeh, eds., Chinese-Language Film: Historiography, Poetics, Politics. Honolulu: University of Hawai'i Press, 2005, 280-97.

Eberhard, Wolfram. The Chinese Silver Screen: Hong Kong and Taiwanese Motion Pictures in the 1960s. Taibei: Orient Culture Service, 1972.

Feng, Peter X. "False Consciousness and Double Conscioiusness: Race, Virtual Reality, and the Assimiliation of Hong Kong Action Cinema in The Matrix." In See-kam Tan, Peter X. Feng, and Gina Marchetti, eds., Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora. Philadelphia: Temple University Press, 2009, 9-21.

Fonfrède, Julien. Cinéma de Hong-Kong. Montréal: Île de la tortue, 1999.    
 
Fonoroff, Paul. "A Brief History of the Hong Kong Cinema." Renditions 29.30 (1988): 293-308.

-----. "King of the Island: Chow Yun-Fat." Cinemaya 10 (1990/91): 58-59.

-----. Silver Light: A Pictorial History of Hong Kong Cinema, 1920-1970. HK: Joint Publishing, 1997.

-----. At the Hong Kong Movies: 600 Reviews from 1988 Till the Handover. Odyssey Publications, 1999.

Ford, Stacilee. Mabel Cheung Yuen-Ting's An Autumn's Tale. HK: Hong Kong University Press, 2008.

Fore, Steve. "Golden Harvest Films and the Hong Kong Movie Industry in the Realm of Globalization." The Velvet Light Trap 34 (Fall 1994): 40-58.

-----. “Home, Migration, Identity: Hong Kong Film Workers Join the Chinese Diaspora.” In Law Kar and Stephen Teo, eds., Fifty Years of Electric Shadows. Hong Kong: Urban Council, 1997, 126-135. (Chinese and English versions). Rpt. in Esther M.K. Cheung and Chu Yiu-wai, eds., Between Home and World: A Reader in Hong Kong Cinema. New York: Oxford UP, 2004, 85-100.

-----. "Introduction: Hong Kong Movies, Critical Time Warps, and Shapes of Things to Come." Post Script: Essays in Film and the Humanities. Special issue on HK Cinema. 19, 1 (Fall 1999): 2-9. 

-----. guest ed. Post Script: Essays in Film and the Humanities. Special issue on HK Cinema. 19, 1 (Fall 1999).

Fu, Poshek and David Desser, eds., The Cinema of Hong Kong: History, Arts, Identity. NY: Cambridge UP, 2000.

Fu, Poshek. "Patriotism or Profit: Hong Kong Cinema During the Second World War." In Law Kar, ed., Early Images of Hong Kong and China: Program of the 19th Hong Kong International Film Festival. HK: Urban Council, 1995, 73-79.

-----. "The 1960s: Modernity, Youth Culture, and Hong Kong Cantonese Cinema." In Poshek Fu and David Desser, eds., The Cinema of Hong Kong: History, Arts, Identity. Cambridge: Cambridge UP, 2000, 71-89.

-----. "Between Nationalism and Colonialism: Mainland Emigres, Marginal Culture, and Hong Kong Cinema 1937-1941." In Poshek Fu and David Desser, eds., The Cinema of Hong Kong: History, Arts, Identity. Cambridge: Cambridge UP, 2000, 199-226.

-----. Between Shanghai and Hong Kong: The Politics of Chinese Cinemas. Stanford: Stanford UP, 2003.

-----. "Modernity, Diasporic Capital, and 1950s Hong Kong Mandarin Cinema." Jump Cut 49 (Spring 2007).

-----, ed. China Forever: The Shaw Borthers and Diasporic Cinema. Urbana: University of Illinois Press, 2008.

Gan, Wendy. "The Hong Kong Local on Film: Re-imagining the Global." Jump Cut 49 (Spring 2007).

Garcia, Roger. "Alive and Kicking: The Kung-fu Film Is a Legend." Bright Lights Film Journal 31 (January 2001).

Gateward, Frances. "Wong Fei-hung in Da House: Hong Kong Martial-Arts Films and Hip-Hop Culture." In See-kam Tan, Peter X. Feng, and Gina Marchetti, eds., Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora. Philadelphia: Temple University Press, 2009, 51-67.

Grossman, Andrew. "The Rise of Homosexuality and the Dawn of Communism in Hong Kong Film: 1993-1998." In Grossman, ed., Queer Asian Film: Shadows in the Shade. NY: Harrington Press, 2000, 149-86.

-----. "Homosexual Men (and Lesbian Men) in a Heterosexual Genre: Three Gangster Films from Hong Kong." In Grossman, ed., Queer Asian Film: Shadows in the Shade. NY: Harrington Press, 2000, 237-72.

Hall, Ken. "Hong Kong, 1997; Mexico, 1917. Motifs and Historical Perspective." Asian Cinema 10, 1 (1998): 51-57.

Hammond, Stefan and Mike Wilkins. Sex and Zen and a Bullet in the Head: The Essential Guide to Hong Kong's Mind-Bending Films. NY: Fireside/Simon and Schuster, 1996.

Hastie, Amelie. "Fashion, Femininity, and Historical Design: The Visual Texture of Three Hong Kong Films." Post Script: Essays in Film and the Humanities. Special issue on HK Cinema. 19, 1 (Fall 1999): 52-69. 

Ho, Sam. "The Hong Kong Indie: New Times, New Art." Cinemaya 61/62 (Winter/Spring 2003). 4-10.

Hoover, Michael and Lisa Stokes. "A City on Fire: Hong Kong Cinema as Cultural Logic of Late Capitalism." Asian Cinema 10, 1 (1998): 25-31.

-----. City on Fire: Hong Kong Cinema. London: Verso, 1999.

The Hong Kong Filmography. 3 vols. [vol. I: 1913-1941, vol. II: 1941-1949, vol. III: 1950-1952]. HK: HK Film Archive.

Huang, Tsung-yi. "Hong Kong Blue: Flaneurie with the Camera's Eye in a Phantasmagoric Global City." Journal of Narrative Theory (Winter 2000).

Hung, Natalia Chan Sui. "Rewriting History: Hong Kong Nostaligia Cinema and Its Social Practice." In Poshek Fu and David Desser, eds., The Cinema of Hong Kong: History, Arts, Identity. Cambridge: Cambridge UP, 2000, 252-72.

Glaessner, Verina. Kungfu: Cinema of Vengeance. London: Lorimer, 1974.

Jarvie, I.C. Window on Hongkong: A Sociological Study of the Hongkong Film Industry and its Audience. Hongkong: University of Hongkong Center for Asian Studies, 1977.

Kato, M. T . From Kung Fu to Hip Hop: Globalization, Revolution and Popular Culture. Albany: State University of New York Press, 2007. [publisher's blurb]

Kei, Sek. "Acheivement and Crisis: Hong Kong Cinema in the 80s." Bright Lights Film Journal 31 (Jan. 2001).

Kei, Sek, Roland Chu, and Grant Foerster. "A Brief History of the HK Martial Arts Film." Bright Lights Film Journal 31 (Jan. 2001).

Kleinhans, Chuck. "Becoming Hollywood? Hong Kong Cinema in the New Century." In See-kam Tan, Peter X. Feng, and Gina Marchetti, eds., Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora. Philadelphia: Temple University Press, 2009, 109-21.

Kong, Kam Yoke. "In Profile: Tony Leung Chiu-Wai, Playing the Role, Living the Part." Cinemaya 49 (2000): 28-35.

Kong, Lily. "Shaw Cinema Enterprise and Understanding Cultural Industries." In Poshek Fu, ed., China Forever: The Shaw Borthers and Diasporic Cinema. Urbana: University of Illinois Press, 2008, 27-56.

Kowallis, Jon. "The Diaspora in Postmodern Taiwan and Hong Kong Film: Framing Stan Lai's The Peach Blossom Land with Allen Fong's Ah Ying." In Sheldon Lu, ed. 1997.

Kraicer, Shelly. "Help!!! (Lashou huichen, Hong Kong 2000)." Senses of Cinema 12 (2001).

-----. "Chinese Language Films at the 2004 Toronto International Film Festival." MCLC Resource Center Publication, 2004. [reviews films from mainland China and Hong Kong]

Lai, Linda Chiu-han. "Film and Enigmatization: Nostalgia, Nonsense, and Remembering." In Esther Yau, ed., At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota Press, 2001, 231-50.

Law, Kar. "The American Connection in Early Hong Kong Cinema." In Poshek Fu and David Desser, eds., The Cinema of Hong Kong: History, Arts, Identity. Cambridge: Cambridge UP, 2000, 44-71.

-----. "Crisis and Opportunity: Crossing Borders in Hong Kong Cinema, Its Development form th 40s to th 70s." In Kar Law ed., Border Crossing in Hong Kong Cinema. HK: Leisure and Cultural Services Department, 2000, 116-122.

-----. "An Overview of Hong Kong's New Wave Cinema." In Esther Yau, ed., At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota Press, 2001, 31-50.

-----. "Shaw's Cantonese Productions and Their Interactions with Contemporary Local and Hollywood Cinema." In Poshek Fu, ed., China Forever: The Shaw Borthers and Diasporic Cinema. Urbana: University of Illinois Press, 2008, 57-73.

-----, ed. Cinema of Two Cities: Hong Kong-Shanghai. The 18th Hong Kong International Film Festival. HK: Urban Council, 1994.

-----, ed. Border Crossing in Hong Kong Cinema. HK: Leisure and Cultural Services Department, 2000.

----- and Frank Bren. Hong Kong Cinema: A Cross Cultural View. Scarecrow Press, 2004.

Lau, [Jenny] Kwok Wah. A Cultural Interpretation of the Popular Cinema of China and Hong Kong, 1981-1985. Ph.D. diss. Evanston: Northwestern University, 1989.

-----. "A Cultural Interpretation of the Popular Cinema of China and Hongkong" in Berry ed. Perspectives on Chinese Film. London: British Film Institute, 1991. 166-74.

-----. "Besides Fists and Blood: Hong Kong Comedy and Its Master of the Eighties." Cinema Journal 37, 2 (Winter 1998): 18-34.

-----. "Besides Fists and Blood: Michaeil Hui and Cantonese Comedy." In Poshek Fu and David Desser, eds., The Cinema of Hong Kong: History, Arts, Identity. Cambridge: Cambridge UP, 2000, 158-75.

Lau, Shing-hon, ed. A Study of the Hong Kong Martial Arts Filmm. HK: Fourth International Film Festival, 1980.

-----. A Study of the Hong Kong Swordplay Film 1945-80. HK: Fifth International Film Festival, 1981.

Leary, Charles. “Internal Affairs: High Concept in Hong Kong.” Senses of Cinema 26 (May-June 2003). [review of 2002 film Internal Affairs]

-----. "Electric Shadows of an Airplane: Hong Kong Cinema, World Cinema." In Leon Hunt and Wing-fai Leung, eds., East Asian Cinemas: Exploring Transnational Connections on Film. NY: I. B. Taurus, 2008, 57-69.

Lee, Leo Ou-fan. "Two Films from Hong Kong: Parody and Allegory." In Nick Browne, Paul Pickowicz, Vivian Sochack, and Esther Yau, eds., New Chinese Cinemas: Forms, Identities, Politics. NY: Cambridge UP, 1994, 202-15.

-----. "Tales from the 'Floating City." Harvard Asia Pacific Review (Winter 1996/97).

-----. "Hong Kong Movies in Hollywood." Harvard Asia Pacific Review (Winter 1998/99).

Lee, Susie J. "Theorizing Intervention: The Presence of Hong Kong Cinema in Asian America." Asian Cinema 15, 1 (Spring 2004): 248-64.

Leong, Toh Hai. "Erotic Cinema of Li Han Hsiang and Chu Yuan at the SIFF." Kinema (Fall 2004): 113-115.

Leung, Grace and Joseph Chen. "The Hong Kong Cinema and Its Overseas Market: A Historical Review, 1950-1995." In Law Kar and Stephen Teo, ed., Fifty Years of Electric Shadows. HK: Urban Council, 1997.

Leung, Helen Hok-sze. "Queerscapes in Contemporary Hong Kong Cinema." positions 9, 2 (Fall 2001): 423-447. [Project Muse link]

-----. "Uncertain Triangles: Lesbian Desire in Hong Kong Cinema." In Tineke Hellwig and Sunera Thobani, eds, Asian Women: Interconnections. Toronto: CSPI/Women's Press, 2005, 185-202.

-----. "Disappearing Fences: Bisexuality and Cross-Dressing in Two Hong Kong Comedies." In Gina Marchetti, See Kam Tan, and Peter Feng, eds., Chinese Connections: Film, Diaspora, and Identities. Philadelphia: Temple University Press, forthcoming.

-----. "Unsung Heroes: Reading Transgender Subjectivities in Hong Kong Action Cinema." In Laikwan Pang and Day Wong Kit-mui, eds., Masculinities and Hong Kong Cinema. Hong Kong: Hong Kong University Press, 2005. 81-98. Reprinted in Susan Stryker and Stephen Whittle, eds, The Transgender Studies Reader. New York: Routledge, 2006, 685-697.

-----. "Disappearing Faces: Bisexuality and Transvestism in Two Hong Kong Comedies." In See-kam Tan, Peter X. Feng, and Gina Marchetti, eds., Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora. Philadelphia: Temple University Press, 2009, 152-64.

Leung, N.K. "Hong Kong Cinema: China and 1997." In John Hill and Pamela Gibson, eds. World Cinema: Critical Approaches. NY: Oxford UP, 2000, 170-72.

Leung, Ping-kwan. "Urban Cinema and the Cultural Identity of Hong Kong." In Poshek Fu and David Desser, eds., The Cinema of Hong Kong: History, Arts, Identity. Cambridge: Cambridge UP, 2000, 227-51.

Leung, Wing-fai. "Infernal Affairs and Kung-fu Hustle: Panacea, Placebo, and Hong Kong Cinema." In Leon Hunt and Wing-fai Leung, eds., East Asian Cinemas: Exploring Transnational Connections on Film. NY: I. B. Taurus, 2008, 71-87.

Li, Cheuk-to, ed. A Study of Hong Kong Cinema in the Seventies. HK: Eighth International Film Festival, 1984.

-----. "Popular Cinema in Hong Kong." In Geoffrey Nowell-Smith, ed., The Oxford History of World Cinema. Oxford: Oxford UP, 1996, 704-11.

-----. "The Return of the Father: Hong Kong New Wave and Its Chinese Context in the 1980s." In Nick Browne, Paul G. Pickowicz, Vivian Sobchack, and Esther Yau, eds., New Chinese Cinemas: Forms, Indentities, Politics. New York: Cambridge University Press, 1994, 160-179.

Li, Ding-Tsann. "A Colonized Empire: Reflections on the Expansion of Hong Kong Films in Asian Countries." In Kuan-Hsing Chen, ed., Trajectories: Inter-Asia Cultural Studies. London: Routledge, 1998, 122-41.

Li Hanxiang. Sanshinian xishuo congtou (Detailed account of my thirty-year career). 3 vols. Hong Kong: Tiandi tushu, 1984.

Li, Siu Leung. "Kung Fu: Negotiating Nationalism and Modernity." Cultural Studies 15, 3/4/ (July 2001): 515-42.

Abstract: 'Kung fu', as a cultural imaginary consecrated in Hong Kong cinema since the 1970s, was constituted in a flux of nationalism. This paper argues that the kung fu imaginary found in Hong Kong kung fu cinema is imbued with an underlying self-dismantling operation that denies its own effectiveness in modern life, and betrays an 'originary' moment of heterogeneity, an origin of itself as already 'impurely Chinese'. Having been British-colonized, westernized, capitalist-polluted and culturally hybrid, Hong Kong's relation with 'Chineseness' is at best an ambivalent one. This ambivalence embodies a critical significance of Hong Kong as a defusing hybrid other within a dominant centralizing Chinese ideology, which is itself showing signs of falling apart through complex changes imposed by global capital. Hong Kong's kung fu imaginary, which operates in a self-negating mode, is instructive when read as a tactic of intervention at the historical turn from colonial modernity to the city's reluctant return to the fatherland. The kung fu imaginary enacts a continuous unveiling of its own incoherence, and registers Hong Kong's anxious process of self-invention. If Hong Kong's colonial history makes the city a troublesome supplement, then the 'Hong Kong cultural imaginary' will always be latently subversive, taking to task delusive forms of 'unitary national imagination'.

-----. "Embracing Glocalization and Hong Kong-made Musical Film." In Poshek Fu, ed., China Forever: The Shaw Borthers and Diasporic Cinema. Urbana: University of Illinois Press, 2008, 74-94.

Li Youxin, ed. Gang Tai liu da daoyan (Six major directors in Hong Kong and Taiwan). Taipei: Zili wanbao she, 1986.

Liang Bingjun (Leung Ping-kwan). "Minzu dianying yu Xianggang wenhua shenfen: cong Bawang bieji, Qiwang, Ruan Lingyu kan wenhua dingwei" (National film and Hongkong cultural identity). Jintian 3 (1994): 193-204.

Lin, Niantong, ed. Cantonese Cinema Retrospective, 1950-59. HK: Second International Film Festival, 1978.

-----. Hong Kong Cinema Survey 1946-68. HK: Third Internation Film Festival, 1978.

Lo, Kwai-Cheung. Chinese Face/Off: The Transnational Culture of Hong Kong. Champaign: University of Illinois Press, 2005. [examines film, newspaper culture, theme parks, and kung-fu comics, as well as the interaction of the HK film industry with Hollywood, Lo uncovers HK's "transnational" identity defined in terms of complex relationships with mainland Chna, other diasporic communities (like Taiwan), and the West]

-----. "There Is No Such Thing as Asia: Racial Particularities in the 'Asian' Films of Hong Kong and Japan." Modern Chinese Literature and Culture 17, 1 (Spring 2005): 133-58.

Logan, Bey. Hong Kong Action Cinema. New York: Overlook Press, 1996.

Lu, Sheldon H.. "Filming Diaspora and Identity: Hong Kong and 1997." In Poshek Fu and David Desser, eds., The Cinema of Hong Kong: History, Arts, Identity. Cambridge: Cambridge UP, 2000, 273-88.

-----. "Hong Kong Diaspora Film and Transnational TV Drama: From Homecoming and Exile to Flexible Citizenship." Post Script 20, 2/3 (Winter/Spring 2001): 137-46. Rpt. in Sheldon Lu and Yueh-Yu Yeh, eds., Chinese-Language Film: Historiography, Poetics, Politics. Honolulu: University of Hawai'i Press, 2005, 298-311.

-----. "Diaspora, Citizenship, Nationality: Hong Kong and 1997." In Lu, ed., China, Trannational Visuality, Global Postmodernity. Stanford: Stanford UP, 2002. 104-21.

Lu, Sheldon H. and Anne T. Ciecko. "The Heroic Trio: Anita Mui, Maggie Cheung, Michelle Yeoh--Self Relexivity and the Globalization of the Hong Kong Action Heroine." In Lu, ed., China, Trannational Visuality, Global Postmodernity. Stanford: Stanford UP, 2002. 122-38.

"Made in Hong Kong." Special issue of Cahiers du Cinema (September, 1984).

Marchetti, Gina. "Buying American, Consuming Hong Kong: Cultural Commerce, Fantasies of Identity, and the Cinema." In Poshek Fu and David Desser, eds., The Cinema of Hong Kong: History, Arts, Identity. Cambridge: Cambridge UP, 2000, 289-314.

-----. "Transnational Exchanges, Questions of Culture, and Global Cinema: Defining the Dynamics of Changing Relationships." In Esther Yau, ed., At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota Press, 2001, 251-76.

Mintz, Marilyn D. The Martial Arts Film. South Brunswick: Barnes, 1978.

Morris, Meaghan, Siu Leung Li, and Stephen Chan Ching-kiu, eds. Hong Kong Connections: Transnational Imagination in Action Cinema. HK: Hong Kong UP, 2005.

Needham, Benjamin. "Fashioning Modernity: Hollywood and the Hong Kong Musical, 1957-64." In Leon Hunt and Wing-fai Leung, eds., East Asian Cinemas: Exploring Transnational Connections on Film. NY: I. B. Taurus, 2008, 41-56.

Ng, Benjamin Wai-ming. "Japanese Elements in Hong Kong Erotic Films." Asian Cinema 15, 1 (Spring/Summer 2004): 217-24.

-----. "When Sadako Meets Mr. Vampire: The Impact of Ringu on Hong Kong Ghost Films." Asian Cinema 19, 1 (Spring/Summer 2008): 143-56.

Ng, Kenny K. K. "Romantic Comedies of Cathay-MP&GI in the 1950s and 60s: Language, Locality, and Urban Character." Jump Cut 49 (Spring 2007).

-----. "Inhibition vs. Exhibition: Political Censorship of Chinese and Foreign Cinemas in Postwar Hong Kong." Journal of Chinese Cinemas 2, 1 (May 2008): 23-36.

[Abstract: This article traces clandestine film censorship in colonial Hong Kong during the Cold War. Based on film studio records, press coverage, historical accounts, and recently declassified government documents, albeit limited and incomplete, the article examines sample cases and controversial foreign and Chinese films to throw light on the predicament of cross-border film exhibition in a distinctively politicized period. The evidence and arguments in this study point to a different conceptualization of transnationality and boundary-crossing of cinema grounded in its specific historical and geopolitical configuration. It is less about the easy traffic of capital, human resources, commodities, and ideas across the border than the dangerous trafficking of movie images, ideologies, human actions and propagandas that could destabilize the territorial boundary and its political status quo. Film screening and viewing in the colony are subject to strict official surveillance to quarantine the visuality of politics in the shadow of Cold War paranoia.]

Ng, Kenny K. K. "The Screenwriter as Cultural Broker: Travels of Zhang Ailing's Comedy of Love." Modern Chinese Literature and Culture 20, 2 (Fall 2008): 131-84.

Ono, Yoko. "Lost Heroes: A Comparative Study of Contemporary Japanese and Hong Kong Gangster Films." Asian Cinema 16, 2 (Fall/Winter 2005): 147-54.

Palmer, August Lee and Jenny Kwok Wah Lau. “Of Executioners and Courtesans: The Performance of Gender in Hong Kong Cinema of the 1990s.” In Jenny Kwok Wah Lau, ed., Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia. Philadelphia: Temple UP, 2003, 203-21.

Pang, Laikwan.  "The Distribution and Reception of Hong Kong Films in Mainland China." In Stephanie Donald, Michael Keane, and Yin Hong, eds., Media Futures in China: Consumption, Content and Crisis. London: Curzon Press, 2001.

-----. "Masculinity in Crisis: Films of Milkyway Image and Post 1997 Hong Kong Cinema." Feminist Media Studies 2, 3 (Fall 2002): 325-40.

Pang, Laikwan and Day Kiu-miu Wong, eds. Masculinities and Hong Kong Cinema. HK: Hong Kong University Press, 2005.

Pickowicz, Paul G. "Three Readings of Hong Kong Nocturne." In Poshek Fu, ed., China Forever: The Shaw Borthers and Diasporic Cinema. Urbana: University of Illinois Press, 2008, 95-114.

Reynaud, Berenice. "Hong Kong." Cinemaya 33 (1996): 53-54.

-----. "The Book, the Goddess and the Hero: Sexual Politics in the Chinese Martial Arts Film." Senses of Cinema 26 (May-June, 2003).

Richie, Donald. "The Day the Sun Turned Cold: Some Aspects of Yim Ho's Film." Cinemaya 31 (1996): 16-18.

Rist, Peter. "Neglected 'Classical' Periods: Hong Kong and Korean Cinemas of the 1960s." Asian Cinema 12, 1 (Spring/Summer 2001): 49-66.

Rodriguez, Hector. "Hong Kong Popular Culture as an Interpretive Arena: The Huang Feihong Film Series." Screen 38, 1 (1997): 1-24.

-----. "The Emergence of the Hong Kong New Wave." In Esther Yau, ed., At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota Press, 2001, 53-69.

-----. "Organizational Hegemony in the Hong Kong Cinema." Post Script: Essays in Film and the Humanities. Special issue on HK Cinema. 19, 1 (Fall 1999): 107-19.

Rojas, Carlos. "Specular Failure and Spectral Returns in Two Films with Maggie Cheung (and one without)." Sense of Cinema 12 (2001).

Roosen-Runge, Lisa. "The 25th Annual Hong Kong International Film Festival (April 6-21 2001): A Report." Senses of Cinema 14 (2001).

-----. "The 26th Annual Hong Kong International Film Festival--A Report." Senses of Cinema 20 (May-June 2002).

Ryan, Barbara. "Blood, Brothers, and Hong Kong Gangster Movies: Pop Culture Commentary on 'One China'." In John A. Lent, ed., Asian Popular Culture. Boulder: Westview Press, 1995, 61-77.

Sarkar, Bhaskar. "Hong Kong Hysteria: Martial Arts Tales from a Mutating World." In Esther Yau, ed., At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota Press, 2001, 159-76.

Schroeder, Andrew. "All Roads Lead to Hong Kong: Martial Arts, Digital Effects and the Labour of Empire in Contemporary Action Film." EHHCSS 1 (Jan. 2002).

Shih, Shu-mei. "Gender and a Geopolitical Desire: The Seduction of Mainland Women in Taiwan and Hong Kong Media." In Mayfair Mei Hui Yang, ed. Spaces of Their Own: Women's Public Sphere in Transnational China. Minneapolis: University of Minnesota Press, 1999, 278-307.

Shu, Kei, ed. Cantonese Cinema Retrospective, 1960-69. HK: Sixth International Film Festival, 1982.

-----. A Comparative Study of Post-war Mandarin and Cantonese Cinema. Hong Kong: Seventh International Film Festival, 1983.

Singer, Michael. "Chow Must Go On." Film Comment 24 (1988): 46-47.

Stockbridge, Sally. "Sexual Violence and Hong Kong Films: Regulation and Cultural Difference." Media Information Australia 74 (1994): 86-92.

Stokes, Lisa Odham and Michael Hoover. City on Fire: Hong Kong Cinema. London; New York: Verso, 1999.

-----. "Like Father, Like Son: Yuen Wo-ping's Iron Monkey and the Evolution of Wong Fei-hung." Asian Cinema 12, 2 (Fall/Winter 2001): 110-18.

-----. "Food Fight, Food Fight: Culture and Economy in Chicken and Duck Talk." Asian Cinema 14, 2 (Fall/Winter 2003): 170-79.

Stringer, Julian. "Category 3: Sex and Violence in Postmodern Hong Kong." In Christopher Sharrett, ed., Mythologies of Violence in Postmodern Media. Detroit: Wayne State University Press, 1998.

-----. "Cultural Identity and Disaspora in Contemporary Hong Kong Cinema." In Darrell Hamamoto and Sandra Liu, eds., Asian American Screen Cultures. Philadelphia: Temple University Press, 1998.

-----. "Problems with the Treatment of Hong Kong Cinema as Camp." Asian Cinema 8, 2 (Winter 1996-97): 44-65.

-----. Blazing Passions: Contemporary Hong Kong Cinema. London: Wallflower Press, 2007. [press blurb]

Sun, Shaoyi. "Women and The Labyrinth of History: Reflections on The Soong Sisters." Unpublished manuscript on the Asian Connections website.

Szeto, Kin-Yan. "Specters of Capital: Hong Kong Cinema in a Border/less World." Jump Cut 45 (Fall 2002). [review of Esther Yau, ed., At Full Speed: Hong Kong Cinema in a Borderless World (Minneapolis: University of Minnesota Press, 2001)].

-----. "Jackie Chan's Cosmopolitical Consciousness and Comic Displacement." Modern Chinese Literature and Culture 20, 2 (Fall 2008): 229-60.

Tan, See Kam. "The Hongkong Cantonese Vernacular as Cultural Resistance." Cineyama 20 (1993); 12-15.

-----. "Hong Kong Cinema: Double Marginalization and Cultural Resistance." Southeast Asian Journal of Social Sciences 22 (1994): 53-71.

-----. "The Cross-Gender Performances of Yam Kim-Fei, or The Queer Factor in Postwar Hong Kong Cantonese Opera/Opera Films." In Andrew Grossman, ed., Queer Asian Film: Shadows in the Shade. NY: Harrington Press, 2000, 201-12.

-----. "Huangmei Oper Films, Shaw Brothers and Ling Bo: Chaste Love Stories, Genderless Cross-dressers and Sexless Gender-plays?" Jump Cut 49 (Spring 2007).

Tan, See Kam and Annette Aw. "Love Eterne: Almost a (Heterosexual) Love Story." In Chris Berry, ed., Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 137-43.

Tateishi, Ramie. "Jackie Chan and the Reinvention of Tradition." Asian Cinema 10, 1 (1998): 78-84.

Teng, Sue-Feng. "From Bruce Lee to Jackie Chan-The Kungfu Film Carries On." Sinorama (Jun. 1996): 28-35.

Teo, Stephen. "Hong Kong Cinema: Discovery and Prediscovery." In John Hill and Pamela Gibson, eds. World Cinema: Critical Approaches. NY: Oxford UP, 2000, 166-70.

-----. "Hong Kong Cinema: Hearing Asian Voices." In 1990 Hawaii International Film Festival Viewer's Guide. Honolulu: East-West Center, 1990.

-----. Hong Kong Cinema: The Extra Dimensions. London: British Film Institute, 1997.

-----. "Local and Global Identity: Wither Hong Kong Cinema?" Senses of Cinema 7 (2000).

-----. "The 1970s: Movement and Transition." In Poshek Fu and David Desser, eds., The Cinema of Hong Kong: History, Arts, Identity. Cambridge: Cambridge UP, 2000, 90-110.

-----. "The Code of The Mission (Johnny To, 1999)." Senses of Cinema 17 (Nov./Dec. 2001).

-----. Director in Action: Johnnie To and the Hong Kong Action Film. HK: Hong Kong University Press, 2007.

-----. Chinese Martial Arts Cinema: The Wuxia Tradition. Edinburgh: Edinburgh UP, 2009.

[Abstract: The traditional martial arts genre known as wuxia (literally "martial chivalry") became popular the world over through the phenomenal hit Crouching Tiger, Hidden Dragon (2000). This book unveils the rich layers of the wuxia tradition as it developed in the early Shanghai cinema of the late 1920s and in the Hong Kong and Taiwan film industries of the 1950s and beyond. Stephen Teo follows the tradition from its beginnings in Shanghai cinema to its rise as a serialized form in silent cinema and its prohibition in 1931. He shares the fantastic characteristics of the genre, their relationship to folklore, myth, and religion, and their similarities and differences with the kung fu sub-genre of martial arts cinema. He maps the protagonists and heroes of the genre, in particular the figure of the lady knight-errant, and its chief personalities and masterpieces. Directors covered include King Hu, Chu Yuan, Zhang Che, Ang Lee, and Zhang Yimou, and films discussed are Come Drink With Me (1966), The One-Armed Swordsman (1967), A Touch of Zen (1970-71), Hero (2002), House of Flying Daggers (2004), The Promise (2005), The Banquet (2006), and Curse of the Golden Flower (2006).]

Tobias, Mel C. Flashbacks: Hong Kong Cinema after Bruce Lee. Hong Kong: Gulliver Books, 1979.

Tsai, Eva. "Kaneshiro Takeshi: Transnational Stardom and the Media and Culture Industries in Asia Global/Postcolonial Age." Modern Chinese Literature and Culture 17, 1, (Spring 2005): 100-132.

Wai, Chu Yiu. "Hybridity and (G)local Identity in Postcolonial Hong Kong Cinema." In Sheldon Lu and Yueh-Yu Yeh, eds., Chinese-Language Film: Historiography, Poetics, Politics. Honolulu: University of Hawai'i Press, 2005, 312-28.

Wald, Gayle. "Same Difference: Racial Masculinity in Hong Kong and Cop-Buddy Hybrids." In See-kam Tan, Peter X. Feng, and Gina Marchetti, eds., Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora. Philadelphia: Temple University Press, 2009, 68-81.

Wang, Shujen. Framing Piracy: Globalization and Film Distribution in Greater China. Lanham, MD: Rowman and Littlefield, 2003.

Wang, Yiman. "The ‘Transnational’ as Methodology: Transnationalizing Chinese Film Studies through the Example of The Love Parade and its Chinese Remakes." Journal of Chinese Cinemas 2, 1 (May 2008): 9-22.

[Abstract: This essay critiques unreflective celebration of transnational Chinese cinema and proposes the ‘transnational’ as methodology. By examining the dual modes of address in a Hong Kong remake of a Lubitsch musical comedy, I demonstrate the importance of scrutinizing border politics and the ‘foreignization’ of Chinese cinema in its transnational production and reception.]

Weisser, Thomas. Asian Cult Cinema. New York: Boulevard Books, 1997.

Williams, Tony. "Kwan Tak-Hing and the New Generation." Asian Cinema 10, 1 (1998): 71-77.

-----. "Hong Kong Cinema, the Boat People, and To Liv(e)." Asian Cinema 11, 1 (Spring/Summer 2000): 131-43.

-----. "Under 'Western Eyes': The Personal Odyssey of Huang Fei-Hong in Once Upon a Time in China." Cinema Journal 40, 1 (2000): 3-24.

-----. "Michelle Yeoh: Under Eastern Eyes." Asian Cinema 12, 2 (Fall/Winter 2001): 119-31.

-----. "Transnational Stardom: The Case of Maggie Cheung Man-yuk." Asian Cinema 14, 2 (Fall/Winter 2003): 180-96.

-----. "Bridgit Lin Ching Hsia: Last Eastern Star of the Late Twentieth Century." Journal of Chinese Cinemas 2, 2 (July 2008): 147-57.

[Abstract: This article aims to explore the star status of Brigitte Lin according to the concepts pioneered by Richard Dyer in his Stars and Heavenly Bodies monographs. In contrast to most works that examine Lin's star phenomenon exclusively in terms of her Hong Kong films and ‘Invincible Asia’ role in particular, this study emphasizes the importance of her early Taiwan films made during 1972–84 as well as the transitional Taiwan films of the 1980s directed by Chu Yen Ping when the star sought to change her earlier image. It suggests that Lin was a much more active agent in this process than Tsui Hark. It concludes by noting the significance of the star's off-screen presence as commentator in two post-retirement films, one of which parallels her well-known Hong Kong star image.]

Wood, Miles. Cine East: Hong Kong Cinema through the Looking Glass. Guildford: FAB, 1998.

Wong, Ain-ling. "The Black-and-White Wenyi Films of Shaws." In Poshek Fu, ed., China Forever: The Shaw Borthers and Diasporic Cinema. Urbana: University of Illinois Press, 2008, 115-32.

Wong, Cindy Hing-Yuk. "Cities, Cultures and Cassettes: Hong Kong Cinema and Transnational Audiences." Post Script: Essays in Film and the Humanities. Special issue on HK Cinema. 19, 1 (Fall 1999): 87-106.   

Wu Hao. Xianggang dianying minsuxue (Ethnography of Hong Kong film). Hong Kong: Ci wenhua, 1993.

Xianggang dianying de Zhongguo mailuo (The China factor in Hong Kong cinema). HK International Film Festival, 1990. HK: Shicheng ju, 1997.

Yang, Jeff. Once Upon a Time in China: A Guide to Hong Kong, Taiwanese, and Mainland Chinese Cinema. NY: Simon and Schuster, 2003.

Yang, Mingyu. "China: Once Upon A Time / Hong Kong: 1997: A Critical Study of Contemporary Martial Arts Films." PhD dissertation. University of Maryland, 1995.

Yau, Ching. Filming Margins: Tang Shu Shuen, a Forgotten Woman Film Director. HK: HK University Press, 2004.

Yau, Esther C.M. "Border Crossing: Mainland China's Presence in Hong Kong Cinema." In Nick Browne, Paul Pickowicz, Vivian Sochack, and Esther Yau, eds., New Chinese Cinemas: Forms, Identities, Politics. New York: Cambridge, 180-201.

-----, ed. At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota, 2001.

-----. "The Spirits of Capital and Haunting Sounds: Translocal Historicism in Victim (1999)." In See-kam Tan, Peter X. Feng, and Gina Marchetti, eds., Chinese Connections: Critical Perspectives on Film, Identity, and Diaspora. Philadelphia: Temple University Press, 2009, 249-62.

Yau, Ka-fai. "3rdness: Filming, Changing, Thinking Hong Kong." positions 9, 3 (Winter, 2001): 535-558. [Project Muse link]

-----. "Cinema 3: Towards a 'Minor Hong Kong Cinema.'" Cultural Studies 15, 3/4 (July 2001): 543-63.

Abstract: This article canvasses the way Hong Kong cinema became modern, at the moment and the place when/where it had to come up with new cinematic images in response to new geo-historical situations. I call it a 'minor Hong Kong cinema' in the sense that it is a cinema that deterritorializes within the heart of what is considered major. This minor cinema is not at all just a cinema at the margin. It is rather a strategy to conceptualize and develop certain suggestive examples in order to respond to specific geo-historical situations. While this minor cinema cannot represent the whole of Hong Kong cinema, it also highlights the potentialities of Hong Kong cinema that cannot be covered by dominant discourses on Hong Kong. This article focuses upon the films of Fruit Chan. In Fruit Chan's 'Hong Kong 1997 Trilogy', 1997 is neither the beginning of recollections nor the end of Hong Kong. These films dwell upon the failed, the vanished, and the underrepresented to make Hong Kong appear at the intriguing moment of 1997. They explore new perspectives for re-channelling Hong Kong and its histories.

Yau, Shuk-ting Kinnia. "A Study of the Post-Handover Hong Kong Action Cinema, 1997-2007." Asian Cinema 20, 2 (Fall/Winter 2009): 114-30.

Yue, Audrey. "Preposterous Hong Kong Horror: Rouge's (be)hindsight and a (sodomitical) Chinese Ghost Story." In Ken Gelber, ed., The Horror Reader. NY: Routledge, 2000, 364-73.

Yung, Sai-shing. "Territorialization and the Entertainment Industry of the Shaw Brothers in Southeast Asia." In Poshek Fu, ed., China Forever: The Shaw Borthers and Diasporic Cinema. Urbana: University of Illinois Press, 2008, 133-53.

Zhang, Zhen. "The 'Shanghai Factor' in Hong Kong Cinema: A Tale of Two Cities in Historical Perspective." Asian Cinema 10, 1 (1998): 146-59.

Lee, Mabel. "Contextualizing Gao Xingjian's Film Silhouette / Shadow." MCLC Resource Center Publication (January 2008).

Sze-Lorrain, Fiona, ed. Silhouette/Shadow: The Cinematic Art of Gao Xingjian. Paris: Contours, 2007.

[this book will contain new and translated essays written by the 2000 Nobel Prize Laureate in Literature, Gao Xingjian and his film collaborators, Alain Melka and Jean-Louis Darmyn, all addressing their film completed in 2005, Silhouette/Shadow (La Silhouette sinon l'ombre). With a preface written by the editor Fiona Sze-Lorrain, this book is the first documentation that focuses exclusively on Gao Xingjian's artistic expression in the film world.]

Szeto, Kin-Yan. "Jackie Chan's Cosmopolitical Consciousness and Comic Displacement." Modern Chinese Literature and Culture 20, 2 (Fall 2008): 229-60.

Stephen Teo [interviews with Li Yang]. "There is No Sixth Generation: Director Li Yang on Blind Shaft and His Place in Chinese Cinema." Senses of Cinema 27 (July/Aug. 2003).