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]

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]

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).

"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.

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).

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).

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, 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.

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 cinema 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]

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).

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).

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.

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.

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).

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.

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.

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]

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.

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.

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.

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.]

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.

Clark, Paul. "The Film Industry in the 1970s." In Bonnie McDougall, ed. Popular Chinese Literature and Performing Arts in the PRC, 1949-1979. Berkeley: UCP, 1984, 177-196.

Dai, Jinhua. “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.

Delmar, R. and M. Nash. "Breaking with Old Ideas: Recent Chinese Films." Screen 17, 4 (1976): 67-84.

Hoare, Stephanie. "'The New Year's Sacrifice': Using Literary Adaptation in the Chinese Literature Classroom." Asian Studies Review 14, 3 (April 1991): 88-92.

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.

Kuoshu, Harry H. "The White-Haired Girl and Li Shuangshuang: Female Visibility and the Socialist Feminism." In Harry Kuoshu, Lightness of Being in China: Adaptation and Discursive Figuration in Cinema and Theater. NY: Peter Lang, 1999, 71-94.

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.

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

Liu, Lydia. “A Folksong Immortal and Official Popular Culture in Twentieth-Century China.” In Judith T. Zeitlin and Lydia Liu, with Ellen Widmer, eds., Writing and Materiality in China: Essays in Honor of Patrick Hanan. Cambridge, MA: Harvard University Asia Center, 2003, 553-609. [deals with film “Liu Sanjie” and its folk roots]

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.

Ma, Ning. "Satisfied or Not: Desire and Discourse in the Chinese Comedy of the 1960s." East-West Film Journal 2, 1 (Dec 1987): 32-49.

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.

Meek, Scott and Tony Rayns. "Before the Cultural Revolution" Sight and Sound 49 (Autumn, 1980).

Meng Liye. Xin Zhongguo dianying yishu shigao, 1949-1959 (Draft history of new China's film art, 1949-1959). Beijing: Zhongguo dianying, 2002.

Meng Liye, Zhang Sitao, and Li Jinsheng, eds. Zaijian geming lishi de yishu: geming lishi ticai dianying yanjiu lunwen ji (Goodbye to the art of revolutionary history: collection of essays on films wit revolutionary history themes). Beijing: Beijing dianying, 1993.

Mills, Ian. "Why Did Chiang Ching Close Down Chinese Film Production? Or, the Garden of Eden Re-Opened." Australian Journal of Screen Theory 15-16 (1983): 7-34.

Pickowicz, Paul G. "Cinema and Revolotion in China: Some Interpretive Themes." American Behavioral Scientist 17 (Jan-Feb 1974): 328-59.

-----. "Zheng Junli, Complicity and the Cultural History of Socialist China, 1949–1976." The China Quarterly 188 (Dec. 2006): 1048-1069.

-----. "Acting Like Revolutionaries: Shi Hui, the Wenhua Studio, and Private-Sector Filmmaking, 1949-1952." In Jeremy Brown and Paul Pickowicz, eds., Dilemmas of Victory: The Early Years of the People's Republic of China. Cambridge: Harvard UP, 2008.

Rayns, Tony. "Director: King Hu." Sight and Sound 45 (1976): 8-13.

Robinson, Lewis. "Family: A Study in Genre Adaptation." Australian Journal of Chinese Affairs 12 (1984): 35-57.

Stephen Teo. "The Lin Shop Family: A Chinese Melodrama of Capitalist Existentialism." Senses of Cinema 28 (Sept.-Oct. 2003).

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

Tessier, Max. "Hsu Feng: Steel in Velvet." Cinemaya 15 (1992): 13-15.

Toroptsev, Sergei. "The Space of the Subjective: Pre-Fifth Generation Chinese Cinema." Cinemaya 16 (1992): 14-17.

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

Weakland, John. "Chinese Film Images of Invasion and Resistance." China Quarterly 47 (July-September, 1971): 439-70.

Xiao, Zhiwei. "The Expulsion of American Films from China, 1949-1950." Twentieth-Century China 30, 1 (Nov. 2004).

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-----. "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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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.

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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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-----. "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).

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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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-----. "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.

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.

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.

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.

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.

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.

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.

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.

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.

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.

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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.

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).

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).

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-----. "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.

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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.

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-----. "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.

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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).

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

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

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

-----. "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.

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.

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-----. "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.

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-----. "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.

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.

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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.

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

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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, 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.

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

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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]

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.

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

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

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Shen, Shiao-