Evans Chan

Berry, Michael. "Evans Chan: The Last of the Chinese." [Interview]. In Berry, ed., Speaking in Images: Interviews with Contemporary Chinese Filmmakers. NY: Columbia UP, 2005, 508-42.

Evans Chan Website

Marchetti, Gina. "Transnational Cinema, Hybrid Identities and the Films of Evans Chan." Postmodern Culture 8, 2 (1998).

Rodriguez, Hector. "Homelessness and Self-Disclosure: Evans Chan's 'Minor' Cinema." Cinemaya 54/55 (Winter/Spring 2002): 20-25.

Williams, Tony. "Crossings: A Transnational Cinematic Text." Asian Cinema 11, 2 (Fall/Winter 2000): 67-75. [on Evans Chan's Crossings]

-----, "Issues of Decolonization: Two Essay Documentaries by Evans Chan." Asian Cinema 18, 1 (Spring/Summer 2007): 177-201.

Wong, Tak-wai, ed. Evans Chanís TO LIV(E): Screenplay and Essays. HK: University of Hong Kong, Department of Comparative Literature, 1996.

Berry, Michael. "Fruit Chan: Hong Kong Independent." [Interview]. In Berry, ed., Speaking in Images: Interviews with Contemporary Chinese Filmmakers. NY: Columbia UP, 2005, 458-83.

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.

Dissanayake, Wimal. "The Class Imaginary in Fruit Chan's Films." Jump Cut 49 (Spring 2007).

Gan, Wendy. Fruit Chan's Durian Durian. HK: Hong Kong University Press, 2005. [HKUP blurb]

Huber, Christoph. “Curious About Crap: Fruit Chan’s Public Toilet (2002).” Senses of Cinema 24 (Jan/Feb 2003).

Kleinhans, Chuck. "Serving the People--Dumplings." Jump Cut 49 (Spring 2007).

Wong, Aida Yuen. "Three Films about Food by Fruit Chan: Allegories of Hong Kong-China Relations after 1997." Asian Cinema 16, 2 (Fall/Witner 2005): 229-41.

Chan, Kenneth. "Mimicry as Failure: Jackie Chan in Hollywood." Asian Cinema 15, 2 (Fall/Winter 2004): 84-97.

Fore, Steve. "Jackie Chan and the Cultural Dynamics of Global Entertainment." In Sheldon Lu, ed., Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997.

-----. "Life Imitates Entertainment: Home and Dislocation in the Films of Jackie Chan." In Esther Yau, ed., At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota Press, 2001, 115-42.   

Teng, Sue-Feng. "From Bruce Lee to Jackie Chan-The Kungfu Film Carries On." Sinorama (Jun. 1996): 28-35.     

Chen, Robert Ru-Shou. "'This Isn't Real!': Spatialized Narration and (In)visible Special Effects in Double Vision." In Darrell William Davis and Ru-Shou Robert Chen, eds., Cinema Taiwan: Politics, Popularity and State of the Arts. NY: Routledge, 2007, 108-15.

Kaldis, Nick. "Monogamorphous Desires, Faltering Forms: Structure, Content, and Contradictions in The Personals (Zhenghun Qishi) (Taiwan, 1998)." Asian Cinema 15, 1 (Spring 2004): 37-56.

Kraicer, Shelly. "The Personals" (review). Chinesecinemas.org.

An, Jingfu. "The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting and King of the Children." 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, 117-26.

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.

-----. "Farewell My Concubine: At What Price Success?" Cinemaya 20 (1993): 20-22.

Berry, Michael. "Chen Kaige: Historical Revolution and Cinematic Rebellion." [Interview]. In Berry, ed., Speaking in Images: Interviews with Contemporary Chinese Filmmakers. NY: Columbia UP, 2005, 82-107.

Braester, Yomi. "Farewell My Concubine: National Myth and City Memories." In Chris Berry, ed., Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 89-96.

Chen, Kaige, Wan Zhi, Tony Rayns. King of the Children and the New Chinese Cinema. London: Faber and Faber, 1989. [includes script of the film in English translation]

Chen, Kaige. "Breaking the Circle: The Cinema and Cultural Change in China." Cineaste 18, 3 (1990): 28-32.

Chen, Pauline. "History Lessons." Film Comment (March-April 1994): 85-87. [Farewell My Concubine]

Chen, Ya-chen, ed. Ba wang bie ji: tongzhi yuedu yu kua wenhua duihua (Farewell My Concubine: Same-Sex Readings and Cross-Cultural Dialogues). Chia-i, Taiwan: Nanhua daxue, 2004. [Nan Hua University Press's Official Website of the Book]

Cheng, W. K. "Imagining the People: Yellow Earth and the Enigma of Nationalist Consciousness." The China Review 2, 2 (Fall 2002): 37–63.

[Abstract: This paper is an attempt to adumbrate how the modern experience of the demands of nationalist imagination has exerted profound, contorting effects on Chinese consciousness in a burdened state of mind. We take as our analytical vehicle a deliberate juxtaposition of two supposedly inter-referencing texts: Chen Kaige’s Yellow Earth and his contemporary reminiscence of the film project. Rather than the apparent thematic unity of these two texts, we find instead a complex of incongruity and discordance that is impelled by the tension between what we call the folklorist and visionary impulses. These impulses produce competing and coexisting instances of authenticity that are, in the final analysis, only possible because they are authorized by the totalizing weight of nationalist yearning.]

Cheshire, Godgrey. "The Long Way Home." Film Comment (July-August 1992): 36-39.

Chong, Woei Lien, "Chen Kaige's 'Farewell to My Concubine': Some Personal Musings." China Information (Supplement) 9, 1 (Summer 1994): 41-47.

Chow, Rey. "Silent is the Ancient Plain: Music, Filmmaking and the Conception of Reform in China's New Cinema." Discourse 12, 2 (1990): 82-109.

-----. "Male Narcissism and National Culture: Subjectivity in Chen Kaige's King of the Children." In Ellen Widmer and David Wang, eds., From May Fourth to June Fourth: Fiction and Film in Twentiety-Century China. Cambridge: Harvard UP, 1993, 327-59.

-----. "The Seduction of Homecoming: Place, Authenticity, and Chen Kaige's Temptress Moon." Narrative 6, 1 (January 1998): 3-17. Rpt. in Wen-hsin Yeh, ed., Cross-Cultural Readings of Chineseness: Narratives, Images, and Interpretations of the 1990s. Berkeley: Center for Chinese Studies, 2000, 8-26.

Clark, Paul. "'Passion, Courage, Commitment': Chen Kaige's Later Films." In Clark, Reinventing China: A Generation and Its Films. HK: The Chinese University Press, 2005, 146-63.

Donald, Stephanie. "Landscape and Agency: Yellow Earth and the Demon Lover." Theory, Culture and Society 14, 1 (1997): 97-112.

The Emperor and the Assassin Website (Sony Classics)

Farquhar, Mary Ann. "The 'Hidden' Gender in Yellow Earth." Screen 33, 2 (Summer 1992).

Hero official website

Hong, Lanxing. "Farewell My Concubine." (movie reviews) Beijing Review 36, 26 (June 28, 1993): 29

Huashuo Huang tudi (Talking about Yellow Earth). Beijing: Zhongguo dianying, 1986.

Jaivin, Linda. "Who Owns Chen Kaige?" Quadrant (Aug. 1987): 15-17.

Kaplan, Ann. "Reading Formations and Chen Kaige's Farewell My Concubine." In Sheldon Lu, ed., Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997.

Larson, Wendy. "The Concubine and the Figure of History: Chen Kaige's Farewell My Concubine." In Sheldon Lu, ed., Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997; also published as "Bawang bieji: Ji yu lishi xingxiang," Qingxiang (1997); also in Harry Kuoshu, ed., Chinese Film, ed. Bloomington: University of Indiana Press, 2000.

-----. "Duanwu Goes Home: Chen Kaige's Temptress Moon and the Politics of Homecoming." In Wen-hsin Yeh, ed., Cross-Cultural Readings of Chineseness: Narratives, Images, and Interpretations of the 1990s. Berkeley: Center for Chinese Studies, 2000, 27-52.

Lau, Jenny Kwok Wah. "'Farewell My Concubine': History, Melodrama, and Ideology in Contemporary Pan-Chinese Cinema." Film Quarterly 49, 1 (Fall, 1995).

Leung, Helen Hok-Sze. "Yellow Earth: Hesitant Apprenticeship and Bitter Agency." In Chris Berry, ed., Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 191-97.

Li, H.C. "Color, Character, and Culture: On Yellow Earth, Black Canon Incident, and Red Sorghum." Modern Chinese Literature 5, 1 (Spring 1989): 91-119.

Lim, Song Hwee. "The Uses of Femininity: Chen Kaige's Farewell My Concubine and Zhang Yuan's East Palace, West Palace." In Lim, Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas. Honolulu: University of Hawai'i, 2006, 69-98.

Lu, Alvin. "Chen Kaige: Chinese Film Director." Film Comment (Sept-Oct. 1997).

Lu, Tonglin. "Continuity and Subversion: Chen Kaige, Yellow Earth, Big Parade, King of the Children." Lu, Confroniting Modernity in the Cinemas of Taiwan and Mainland China. Cambridge: Cambridge UP, 2002, 25-57.

McDougall, Bonnie S. "Cross-dressing and the Disappearing Woman in Modern Chinese Fiction, Drama and Film: Reflections on Chen Kaige's Farewell My Concubine." China Information 8, 4 (Summer 1994): 42-51.

-----. The Yellow Earth: A Film by Chen Kaige, with a Complete Translation of the Filmscript. Hong Kong: Chinese University Press, 1991. [in addition to a script of the film, contains much information and discussion about the film, its production, and the public and critical responses to it]

Metzger, Sean. "Farewell My Fantasy." The Journal of Homosexuality 39, 3/4 (2000): 213-32. Rpt. in Andrew Grossman, ed. Queer Asian Cinema: Shadows in the Shade. NY: Harrington Press, 2000, 213-232.

Rafferty, Terrence. "Farewell My Concubine." (movie review) New Yorker 69, 33 (Oct 11, 1993).

Rayns, Tony. "Life on a String." Sight and Sound (March 1992): 36-37.

-----. "Ba Wang Bie Ji (Farewell My Concubine)." (movie review) Sight and Sound 4, 1 (Jan, 1994).

-----. "The Narrow Path: Chen Kaige in Conversation with Tony Rayns." In John Boorman and Walter Donohue, eds. Projection 3: Filmmakers on Filmmaking. London: 1994.

Romney, Jonathan. "Farewell My Concubine" (review). New Statesman & Society 7, 284 (Jan 7, 1994).

Shu, Kei. "Letter to Chen Kaige." Cinemaya 20 (1993): 18-20.

Silvio, Teri. "Chinese Opera, Global Cinema, and the Ontology of the Person: Chen Kaige's Farewell My Concubine." In Jeongwon Joe and Rose Theresa, eds., Between Opera and Cinema. New York: Routledge, 2002, 177-197.

Tam, Kwok-kan and Wimal Dissanayake. "Chen Kaige: Steps Toward a Personal Cinema." New Chinese Cinema. Oxford: Oxford University Press, 1998.

Tian Ying. "Dianying yu shishi zhi jian: Huang tudi de xunxi" (Between fact and film: a search for Yellow Earth). Dangdai (May 1985): 82-85.

Together (official website of Chen Kaige’s 2003 film)

Xia Gan and Qing Yuanliang. "Bawang bieji yu ren zhi changqing" (Farewell my Concubine and commen sense). Jintian 1 (1994): 228-334.

Xiao, Zhiwei. "Farewell My Concubine." (movie reviews) American Historical Review 100, 4 (Oct, 1995).

Xu, Ben. "Farewell My Concubine and Its Western and Chinese Viewers." Quarterly Review of Film and Television 16, 2 (1997).

Yau, Esther. "Yellow Earth: Western Analysis and a Non-Western Text" Film Quarterly 41.2 (Winter 1987-88): 22-33. Reprinted in Berry ed. Perspectives on Chinese Film. London: British Film Institute, 1991. 62-79.

"Yellow Earth." In Barme and Minford, eds. Seeds of Fire: Chinese Voices of Conscience. New York: Noonday Press, 1988.251-69.

Zha, Jianying. "Chen Kaige and the Shadows of the Revolution." Sight and Sound (Feb. 1994): 28-36.

Zhang, Benzi. "Figures of Violence and Tropes of Homophobia: Reading Farewell My Concubine between East and West." Journal of Popular Culture: Comparative Studies in the World's Civilizations 33, 2 (1999): 101-109.

Zhang, Jiaxuan. "The Big Parade" (review) Film Quarterly 42, 1 (Fall 1989): 57-59.

Zhang, Xudong. "A Critical Account of Chen Kaige's King of the Children." In Zhang, Chinese Modernism in the Era of Reforms. Durham: Duke UP, 1997, 282-305.

Klein, Christina. "Kung Fu Hustle: Transnational Production and the Global Chinese language Film." Journal of Chinese Cinemas 1, 3 (Sept. 2007): 189-208.

Szeto, Kin-Yan. "The Politics of Historiography in Stephen Chow's Kung Fu Hustle." Jump Cut 49 (Spring 2007).

Xu, Gang. "The Gongfu of Kung-fu Hustle." Synoptique 10 (August 2005).

Berry, Chris. "The Sacred, the Profane, and the Domesitc in Cui Zi'en's Cinema." positions: east asia cultures critique 12, 1 (Spring 2004): 196-201.

Wang, Qi. "The Ruin Is Already a New Outcome: An Interview with Cui Zi'en." positions: east asia cultures critique 12, 1 (Spring 2004): 181-94.

Zhu, Ying. "Cui Zi'en." In David Gerstner, ed., International Encyclopedia of Queer Culture – Contemporary Gay, Lesbian, Bisexual and Transexual Cultures. London: Routledge: 2006.

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

Cheng, Scarlet. "There's Nothing Like Being There." Los Angeles Times (November 2, 1998). [about the filming of Feng Xiaogang's Be There or Be Square]

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.

McGrath, Jason. "Metacinema for the Masses: Three Films by Feng Xiaogang." Modern Chinese Literature and Culture 17, 2 (Fall 2005): 90-132.

-----. "New Year's Films: Chinese Enterntainment Cinema in a Globalized Cultural Market." In McGrath, Postsocialist Modernity: Chinese Cinema, Literature, and Criticism in the Market Age. Stanford: Stanford UP, 2008, 165-202.

Wang, Shujen. "Big Shot's Funeral: China, Sony, and the WTO." Asian Cinema 14, 2 (Fall/Winter 2003): 145-54.

A World Without Theives (Tianxia wuzei) [official website]

Wu Guangping. "Wo shi renmin de daoyan" (I am a people's filmmaker). Dianying yishu 2 (2000): 44-48.

Zhang Rui. Feng Xiaogang and Chinese Cinema after 1989. Ph. D. diss. Columbus: The Ohio State University, 2005.

Zhou, Shaoming. "Making Money Can Be Funny." Cinemaya 52 (2001): 13-18.

Zhu, Ying. "Feng Xiaogang and the Chinese New Year Films." Asian Cinema 18, 1 (Spring/Summer 2007): 43-64.

Daruvala, Susan. "The Aesthetics and Moral Politics of Fei Mu's Spring in a Small Town." Journal of Chinese Cinemas 1, 3 (Sept. 2007): 171-88.

Li, Cheuk-to. "Spring in a Small Town: Mastery and Restraint." Cinemaya 49 (2000): 59-64.

Wong, Ain-ling. "Fei Mu: A Different Destiny." Cinemaya 49 (2000): 52-58.

Berry, Michael. "Words and Images: A Conversation with Hou Hsiao-hsien and Chu T'ien-wen." positions 11, 3 (Winter 2003): 675-716. Rpt as "Hou Hsiao-hsien with Chu T'ien-wen: Words and Images." [Interview]. In Berry, ed., Speaking in Images: Interviews with Contemporary Chinese Filmmakers. NY: Columbia UP, 2005, 234-71.

Browne, Nick. "Hou Hsiao-hsien's Puppetmaster: The Poetics of Landscape." Asian Cinema 8, 1 (Spring 1996): 28-38. Rpt. in Chris Berry and Feii Lu, eds., Island on the Edge: Taiwan New Cinema and After. HK: Hong Kong University Press, 2005, 79-88.

Burnett, Colin. "Parametric Narration and Optical Transition Devices: Hou Hsiao-hsien and Robert Bresson in Comparison." Senses of Cinema 33 (2004).

Chen, Leo Chanjen. "Cinema, Dream, Existence: The Films of Hou Hsiao-hsien." New Left Review 39 (May-June 2006):

Cheshire, Geoffrey. "Time Span: The Cinema of Hou Hsiao-hsien." Film Comment 29, 6 (1993): 56-63.

Chi, Robert. "Getting It on Film: Representing and Understanding History in A City of Sadness." Tamkang Review 29, 4 (Summer 1999): 47-84.

Chiao, Hsiung-ping (Peggy). "A Summer at Grandpa's--Fields/Days of Infancy/Parent-Child Relationships." Wave (Tokyo) 21 (Jan. 1989): 84-86.

-----. "Autobiographical Masterpiece." Free China Review Feb. (1988): 33-35.

-----. "History's Subtle Shadows: Hou Hsiao-hsien's The Puppet Master." Cinemaya 21 (1993): 4-11.

-----. "Hou Hsiao-hsien's Rocky Road to the Golden Lion." Sinorama Nov. (1989): 82-87.

-----. "Great Changes in a Vast Ocean: Neither Tragedy nor Joy" (interview with Taiwanese filmmaker Hou Hsiao-Hsien). Performing Arts Journal 50/51 (May-Sept 1995): 43.

Cafe Lumiere (official website)

Cinema Scope 3 (2000). Special issue on Hou Hsiao-hsien.

Daly, Fergus. "On Four Prosaic Formulas Which Might Summarzie Hou's Poetics." Senses of Cinema 12 (2001).

Den-ei shin seki. The Filmmaker of the 90s Hou Hsiao-hsien. Tokyo: Pia, 1989.

Ellickson, Lee. "Interview with Hou Hsiao-hsien." Cineaste 27, 4 (Fall 2002).

Frodon, Jean-Michel, ed. Hou Hsiao-hsien. Lonrai : Editions Cahiers du cinema, 1999.

Guest, Haden. "Reflections on the Screen: Hou Hsiao Hsien's Dust in the Wind and the Rhythms of the Taiwan New Cinema." In Chris Berry and Feii Lu, eds., Island on the Edge: Taiwan New Cinema and After. HK: Hong Kong University Press, 2005, 27-38.

Haddon, Rosemary. "Hou Hsiao Hsien's City of Sadness: History and the Dialogic Female Voice." In Chris Berry and Feii Lu, eds., Island on the Edge: Taiwan New Cinema and After. HK: Hong Kong University Press, 2005, 55-65.

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

Hou Hsiao-Hsien. Donostia-San Sebasti·n: Euskadiko Filmategia-Filmoteca Vasca, 1995.

"Hou Xiaxian dianying yanjiu" (Research on the films of Hou Hsiao-hsien). Special issue of Zhongwai wenxue 310 (1998).

Jones, Kent. "Cinema With a Roof Ever its Head: Kent Jones on the Latterday Films of Hou Hsiao-hsien." Film Comment (October18, 1999).

Kaldis, Nick. "Compulsory Orientalism: Hou Hsiao-hsien's Flowers of Shanghai." In Chrs Berry and Fei-i Lu, eds., Island on the Edge: Taiwan New Cinema and After. HK: Hong Kong University Press, 2005, 127-36.

Kasman, Daniel. "Hou Hsiao-hsien's Urban Female Youth Trilogy." Senses of Cinema 39 (April-June 2006).

Klinger, Gabe. "Decoding Hou: Analyzing Structural Coincidences in The Puppetmaster." Senses of Cinema 8 (July/Aug. 2000).

Li, Tuo. "Narratives of History in the Cinematography of Hou Xiaoxian." Positions 1, 3 (Winter 1993): 805-15.

Liao Ping-hui. "Rewriting Taiwanese National History: The February 28 Incident at Spectacle." Public Culture 5, 2 (1993).

-----. "Passing and Re-articulation of Identity: Memory, Trauma, and Cinema." Tamkang Review 29, 4 (Summer 1999): 85-114.

Lin, Wenchi. "Screening Taiwan: Award-winning Director Hou Hsiao-hsien Lets his Homeland See Itself on Film." Persimmon 2, 1 (2001): 16-25.

Lu, Tonglin. "From a Voiceless Father to a Father's Voice: Hou Xiaoxian, A Time to Live and a Time to Die, City of Sadness, The Puppetmaster." Lu, Confroniting Modernity in the Cinemas of Taiwan and Mainland China. Cambridge: Cambridge UP, 2002, 95-115.

Lupke, Christopher. "The Muted Interstices of Testimony: A City of Sadness and the Predicament of Multiculturalism in Taiwan." Asian Cinema 15, 1 (Spring 2004): 5-36.

Maslin, Janet. "A Time to Live and a Time to Die." The New York Times (Sept 23, 1986).

McKibbin, Tony. "Situations Over Stories: Cafe Lumiere and Hou Hsiao-hsien." Senses of Cinema 39 (April-June 2006).

Millenium Mambo (official website).

Neri, Corrado. "A Time to Live, A Time to Die: A Time to Grow." In Chris Berry, ed., Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 160-66.

Rayns, Tony. "The Sandwich Man: Between Taiwan and the Mainland, Between the Real and the Surreal: Tony Rayns Talks to Hou Xiaoxian." Monthly Film Bulletin 55 (June 1988): 163-164.

-----. "Tongnian Wangshi (The Time to Live and the Time to Die)." Monthly Film Bulletin 55 (June 1988): 161-163.

-----. "Beiqing chengshi (A City of Sadness)." Monthly Film Bulletin 57 (June 1990): 152-4.

Reynaud, Berenice. City of Sadness. London: BFI, 2002.

Sibergeld, Jerome. Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China's Moral Voice. Seattle: University of Washington Press, 2004. [with analyses of Good Men, Good Women] [MCLC Resource Center review by Robert Chi]

Sodtholt, Dag. "The Complexity of Minimalism: Hou Hsiao-hsien's Three Times." Senses of Cinema 39 (April-June 2006).

Stanbrook, Alan. "The Worlds of Hou Hsiao-hsien." Sight and Sound (1990): 120-124.

Stratton, David. "Beiqing chengshi (A City of Sadness)." Variety (20-26 September 1989): 30.

Tam, Kwok-kan and Wimal Dissanayake. "Hou Hsiao-hsien: Critical Encounters with Memory and History." New Chinese Cinema. Oxford: Oxford University Press, 1998.

Tay, William. "The Ideology of Initiation: The Films of Hou Hsiao-hsien." In Browne et. al., eds., New Chinese Cinemas: Forms, Identities, Politics. Cambridge UP, 1994.

Udden's, James. "Hou Hsiao-hsien and the Question of a Chinese Style." Asian Cinema 13, 2 (Fall/Winter 2002): 54-75.

-----. "Taiwanese Popular Cinema and the Strange Apprenticeship of Hou Hsiao-hsien." Modern Chinese Literature and Culture 15, 1 (Spring 2003): 120-45.

-----. "'This Time He Moves': The Deeper Significance of Hou Hsiao-hsien's Radical Break in Good Men, Good Women." In Darrell William Davis and Ru-Shou Robert Chen, eds., Cinema Taiwan: Politics, Popularity and State of the Arts. NY: Routledge, 2007, 183-202.

-----. "The Future of a Luminescent Cloud: Recent Developments in a Pan-Asian Style." Synoptique 10 (Aug. 2005).

Wang, Ban. "Black Holes of Globalization: Critique of the New Millennium in Taiwan Cinema." Modern Chinese Literature and Culture 15, 1 (Spring 2003): 90-119.

Warner, Charles R. "Smoke Gets in Your Eyes: Hou Hsiao-hsien's Optics of Ephemerality." Senses of Cinema 39 (April-June 2006).

Wood, Robin. "Flowers of Shanghai." CineAction (Summer 2001): 11.

Wu, I-fen. "Looking for Nostalgia: Memory and National Identity in A Time to Live, aTime to Die." Cineaction 60, 1 (2003): 45-51.

-----. "Remapping Ozu's Tokyo? The Interplay between History and Memory in Hou Hsiao-hsien's Cafe Lumiere." Asian Cinema 19, 1 (Spring/Summer 2008): 172-81.

Xu, Gang. "Sing-song Girls of the World: Hou Hsiao-hsien's Border Thinking in Flowers of Shanghai." Conference papar, Remapping Taiwan (UCLA, Oct 13-15, 2000).

-----. "Flowers of Shanghai: Visualising Ellipses and (Colonial) Absence." In Chris Berry, ed., Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 104-110.

Yeh, Yueh-yu. "Politics and Poetics of Hou Hsian-hsien's Films." Post Script 20, 2/3 (Winter/Spring 2001): 61-76. Rpt. in Sheldon Lu and Yueh-Yu Yeh, eds., Chinese-Language Film: Historiography, Poetics, Politics. Honolulu: University of Hawai'i Press, 2005, 163-85.

Yip, June. "Constructing a Nation: Taiwanese History and the Films of Hou Hsiao-hsien." In Sheldon Lu, ed. 1997.

-----. "Remembering and Forgetting, Part II: Hou Hsiao-hsien's Taiwan Trilogy." In Yip, Envisioning Taiwan: Fiction Cinema and the Nation in the Cultural Imaginary. Durham, NC: Duke UP, 2004, 85-130.

City of Sadness (Beiqing chengshi) (by Abe Mark Nornes and Yeh Yueh-yu) [excellent website with background, articles, filmography, synopses, etc.]

Berry, Michael. "Ann Hui: Living Through Films." [Interview]. In Berry, ed., Speaking in Images: Interviews with Contemporary Chinese Filmmakers. NY: Columbia UP, 2005, 422-39.

Chua, Siew Keng. "Song of Exile: The Politics of Home." Jump Cut 42 (1998): 90-93.

Doraiswamy, Rashmi. "State of Flux: Ann Hui Talks to Rashmi Doraiswamy." Cinemaya 7 (1990): 22-24.

Erens, Patricia Brett. "The Film Work of Ann Hui." In Poshek Fu and David Desser, eds., The Cinema of Hong Kong: History, Arts, Identity. Cambridge: Cambridge UP, 2000, 176-195.

-----. "Crossing Borders: Time, Memory, and the Construction of Identity in Song of the Exile." Cinema Journal 39, 4 (2000): 43-59.

Freiberg, Freda. "Border Crossings: Ann Hui's Cinema." Senses of Cinema 22 (2002).

Hau, Si Kit. "Ann Hui Playing Hide and Seek with the Audience." Film Bi-monthly 35 (1980): 22-24.

Ho, Elaine Yee Lin. "Women on the Edges of Hong Kong Modernity: The Films of Ann Hui." In Mayfair Mei Hui Yang, ed. Spaces of Their Own: Women's Public Sphere in Transnational China. Minneapolis: University of Minnesota Press, 1999, 162-87. Rpt. in Esther Yau, ed., At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota Press, 2001, 177-206.

Jaehe, Karen. "Boat People: An Interview with Ann Hui." Cineaste 13, 2 (1984): 16-19.

Keng, Chua Siew. "The Politics of Home: Song of the Exile (Ann Hui, 1990)." Jump Cut 41 (1998).

Kennedy, Harlan. "Ann Hui's Boat People--Canne 1983." Film Comment (Oct. 1983).

Lee, Vivian. "Cinematic Remembrances: The Search for Local Histories in the Post-1997 Films by Ann Hui and Fruit Chan." Asian Cinema 16, 1 (Spring/Summer 2005): 263-85.

Li, Cheuk-to. "Survival is the Most Important: An Interview with Ann Hui." Film Bi-monthly 96 (1982): 19-23.

Stringer, Julian. "Boat People: Second Thoughts on Text and Context." In Chris Berry, ed., Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 15-22.

Williams, Tony. "Border-Crossing Melodrama: Song of the Exile (Ann Hui, 1990)." Jump Cut 41 (1998).

Yau, Ka-Fai. "Looking Back at Ann Hui's Cinema of the Political." Modern Chinese Literature and Culture 19, 2 (Fall 2007): 117-50.

Yoke, Kong Kam. "Ann Hui for the Underdogs." [interview] Cinemaya 45 (Autumn 1999): 17-19.

Bordwell, David. "Richness through Imperfection: King Hu and the Glimpse." In Poshek Fu and David Desser, eds., The Cinema of Hong Kong: History, Arts, Identity. Cambridge: Cambridge UP, 2000, 113-36.

Farquhar, Mary. "A Touch of Zen: Action in Martial Arts Movies." In Chris Berry, ed., Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 167-74.

Rist, Peter. "King Hu: Experimental, Narrative Filmmaker." In Darrell William Davis and Ru-Shou Robert Chen, eds., Cinema Taiwan: Politics, Popularity and State of the Arts. NY: Routledge, 2007, 161-71.

Rodriguez, Hector "Questions of Chinese Aesthetics: Film Form and Narrative Space in the Cinema of King Hu." Cinema Journal 38, 1 (Fall 1998): 73-97.

Teo, Stephen. "King Hu." Senses of Cinema--Great Directors, a Critical Database.

-----. King Hu's A Touch of Zen. HK: Hong Kong UP, 2006

Kaldis, Nicolas. "Huang Jianxin's Cuowei and/as Aesthetic Cognition." positions: east asian cultures critique 7, 2 (Fall 1999): 421-58.

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]

Lo, Kwai-cheung. "Feminizing Technology: The Objet a in Black Cannon Incident." In William Burgwinkle, Glenn Man, and Valerie Wayne, eds., Significant Others: Gender and Culture in Film and Literature (East and West: selected conference papers). Honolulu: College of Languages, Linguistics, and Literature, University of Hawaii: East-West Center, 1993, 88-95.

McGrath, Jason. "Black Cannon Incident: Countering the Counter-espionage Fantasy." In Chris Berry, ed., Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 8-14.

Pickowicz, Paul. "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.

Wang, Eugene Yuejin. "Samsara: Self and the Crisis of Visual Narrative." In Wimal Dissanayake, ed., Narratives of Agency: Self-making in China, India, and Japan. Minneapolis : University of Minnesota Press, 1996, 35-55.

Berry, Chris. "Xiao Wu: China 1997." Cinemaya (Winter 1998/99): 20.

-----. "Xiao Wu: Watching Time Go By." In Berry ed., Chinese Films in Focus. 2nd ed. London: BFI, ???.

Berry, Michael. "Cultural Fallout." Film Comment (March/April 2003): 61-64.

-----. "Jia Zhangke: Capturing a Transforming Reality." [Interview]. In Berry, ed., Speaking in Images: Interviews with Contemporary Chinese Filmmakers. NY: Columbia UP, 2005, 182-207.

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.

Jaffee, Valerie."Bringing the World to the Nation: Jia Zhangke and the Legitimization of Chinese Underground Film." Senses of Cinema 32 (July-Sept. 2004).

-----. "An Interview with Jia Zhangke." Senses of Cinema 32 (July-Sept. 2004).

Jones, Kent Jones.“Out of Time.” Film Comment 38, 5 (Sept./Oct. 2002): 43-47.

Kraicer, Shelly. "Review of Jia Zhangke's Platform." Cineaction 54 (Spring 2001): 67-70.

-----. "Interview with Jia Zhangke." Cineaction 60, 1 (2003): 30-33.

-----. "Review of Unknown Pleasures." Cineaction 61, 1 (2003): 65-66.

-----. "Chinese Wasteland: Jia Zhangke's Still Life." Cinema Scope 29 (2006).

Lee, Kevin. "Jia Zhangke." Senses of Cinema, a Critical Database.

Lim, Dennis. "Lost in an Open Society: Jia Zhangke and Yu Lik Wai on Unknown Pleasures." Cinema Scope 15, 1 (2003).

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.

Lin, Xiaoping. "Jia Zhangke's Cinematic Trilogy: A Journey Across the Ruins of Post-Mao China." In Sheldon Lu and Yueh-Yu Yeh, eds., Chinese-Language Film: Historiography, Poetics, Politics. Honolulu: University of Hawai'i Press, 2005, 186-209.

Lu, Tonglin. "Music and Noise: Independent Film and Globalization." The China Review 3, 1 (Spring 2003): 57-76.

[Abstract: This article proposes to study as a test case the use of popular music in Xiaowu, a Chinese underground film released in 1997. The three recurrent pieces of music underline the importance of a male bond between two former thieves, one of whom remains a pickpocket, while the other has become a model entrepreneur in the wake of economic reform. This bond is disrupted by the process of globalization, which has provided a different value system. Through the disruption of this bond, the film casts a critical light on the effects of globalization, which has contributed to a growing gap between the rich and the poor. The voices of the localized population can be heard through popular music, which is often submerged by a cacophony of machinery, or, at a different level, by a cacophony produced by state censorship and global capitalism.]

McGrath, Jason. "The Independent Cinema of Jia Zhangke: From Postsocialist Realism to a Transnational Aesthetic." In Zhang Zhen, ed., The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-first Century. Durham: Duke University Press, 2007, 81-114.

-----. "'Independent' Cinema: From Postsocialist Realism to Transnational Aesthetic." In McGrath, Postsocialist Modernity: Chinese Cinema, Literature, and Criticism in the Market Age. Stanford: Stanford UP, 2008, 129-64.

Shi, Xiaoling. "Between Illusion and Reality: Jia Zhangke's Vision of Present-day China in The World." Asian Cinema 18, 2 (Fall/Winter 2007): 220-31.

Teo, Stephen. "China With an Accent--Interview with Jia Zhangke, Director of Platform." Senses of Cinema 15 (2001).

Wang, Ban. "Epic Narrative, Authenticity, and the Memory of Realism: Reflections on Jia Zhangke's Platform." In Ching Kwan Lee and Guobin Yang, eds., Re-envisioning the Chinese Revolution: The Politics and Poetics of Collective Memories in Reform China. Washington, DC: Woodrow Wilson Center Press, 2007, 193-216.

Braester, Yomi. "Memory at a Standstill: 'Street-Smart History' in Jiang Wen's In the Heat of the Sun." Screen 42, 4 (Winter 2001): 350-62.

-----. "Memory at a Standstill: From Maohistory to Hooligan History." In Braester, Witness Against History: Literature, Film, and Public Discourse in Twentieth-Century China. Stanford: Stanford UP, 2003, 192-205.

Devils on the Doorstep. FilmForum webpage.

Liu, Xinmin. "Play and Being Playful: The Quotidian in Cinematic Remembrance of the Mao Era." Asian Cinema 15, 1 (Spring 2004): 73-89. [deals in part with In the Heat of the Sun]

Lu, Tonglin. "Fantasy and Ideology in a Chinese Film: A Zizekian Reading of the Cultural Revolution." positions: east asia cultures critique 12, 2 (Fall 2004): 539-64. [mostly about Jiang Wen's In the Heat of the Sun]

Luo, Xueying. "Born for Art--Jiang Wen." China Screen 1 (1994): 26-27.

The Sun Also Rises (Taiyang zhaochang shengqi) [official website]

Ward, Julian. “Filming the Anti-Japanese War: The Devils and Buffoons of Jiang Wen’s Guizi Laile.” New Cinemas 2, 2 (2004): 107-117.

Williams, Louise. "Men in the Mirror: Questioning Masculine Identities in In the Heat of the Sun." China Information 17, 1 (2003): 92-106.

Atkinson, Michael. "Songs of Crushed Love: The Cinema of Stanley Kwan." Film Comment (May/June 1996): 42-46, 49.

Berry, Michael. "Stanley Kwan: From Spectral Nostalgia to Corporeal Desire." [Interview]. In Berry, ed., Speaking in Images: Interviews with Contemporary Chinese Filmmakers. NY: Columbia UP, 2005, 440-57.

Chow, Rey. "A Souvenir of Love." Modern Chinese Literature 7, 2 (Fall 1993): 59-78. Rpt. in Esther Yau, ed., At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota Press, 2001, 209-29.

Cui, Shuqin. "Stanley Kwan's Center Stage: The (im)possible Engagement Between Feminism and Postmodernism." Cinema Journal 39, 4 (2000): 60-80. Rpt. Between Home and World: A Reader in Hong Kong Cinema. HK: Oxford UP, 2004.

Eng, David. "Love at Last Site: Waiting for Oedipus and Stanley Kwan's Rouge." Camera Obscura 32 (1993-94): 75-101.

Farmer, Brett. "Mémoire en Abîme: Remembering (through) Centre Stage." Intersections 4 (Sept 2000).

Hjort, Mette. Stanley Kwan's Center Stage. HK: Hong Kong UP, 2006.

Lai, Linda and Kim Choi. "Interview with Stanley Kwan on Yang and Yin: Gender in Chinese Cinema." Hong Kong International Film Festival (21st). (1997): 42-43.

Lan Yu official website

Law, Wai Ming. "Stanley Kwan: Carrying the Past Lightly." Cinemaya 19 (1993): 10-13.

Lim, Bliss Cua. "Spectral Times: The Ghost Film as Historical Allegory." positions 9, 2 (fall 2001): 287-329. [deals with, in part, Rouge] [Project Muse link]

Lim, Song Hwee. "Fragments of Darkness: Stanley Kwan as a Gay Director." In Lim, Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas. Honolulu: University of Hawai'i, 2006, 153-79.

Liu, Joyce Chi Hui. "Filmic Transposition of the Roses: Stanley Kwan's Feminine Response to Eileen Chang's Women." In Peng-hisang Chen and Whitney Crothers Dilley, eds., Feminism/Femininity in Chinese Literature. Amsterdam,: Rodopi, 2002, 145-58.

Rayns, Tony. "Review of Rouge and Notes on Stanley Kwan." Monthly Film Bulletin (Feb. 1990): 31-33.

Reynaud, Berenice. "Centre Stage: A Shadow in Reverse." In Chris Berry, ed., Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 31-38.

Rojas, Carlos. "Specular Failure and Spectral Returns in Two Films with Maggie Cheung (and one without)." Sense of Cinema 12 (2001). [looks primarily at Centre Stage]

Stokes, Lisa Odham and Michael Hoover. "Resisting the Stage: Imaging/Imagining Ruan Lingyu in Stanley Kwan's Actress." Asian Cinema 11, 2 (Fall/Winter 2000): 92-98.

Stringer, Julian. "Centre Stage: Reconstructing the Bio-Pic." Cineaction 42 (Feb. 1997): 28-39.

Tam, Kwok-kan and Wimal Dissanayake. "Stanley Kwan: Narratives of Feminine Anguish." New Chinese Cinema. Oxford: Oxford University Press, 1998.

Tsang, Daniel. "Interview with Stanley Kwan." Subversity, radio show on KUCI, Irvine California.

Teo, Stephen. "Full Moon in New York." Senses of Cinema 12 (2001).

Chan, Ching-kiu Stephen. "Temporality and the Modern Subject: Efects of Memory in Lai Sheng-ch'uan's The Other Evening, We Put Up a Show of Hsiang-sheng." Tamkang Review 18, 1-4 (1989): 1-37.

Chow, Eileen Cheng-yin. “A Peach Blossom Diaspora: Negotiating Nation Spaces in the Writing of Taiwan.” South Atlantic Quarterly 98, 1/2 (Winter/Spring 1999): 143-62. [about Stanley Lai’s 1992 film Anlian Taohua yuan (Secret Love/Peach Blossom Spring)]

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.

Braester, Yomi. "Modern Identity and Karmic Retribution in Clara Law's Reincarnations of Golden Lotus." Asian Cinema 10, 1 (1998): 58-61.

Fore, Steve. Tales of Recombinant Femininity: The Reincarnation of Golden Lotus, the Chin P'ing Mei, and the Politics of Melodrama in Hong Kong." Journal of Film and Video 45, 4 (1993): 57-70.

Li, Dian. "Clara Law." Senses of Cinema--Great Directors, a Critical Database.

-----. "Between Memory and Forgetting: Clara Law's Vision of the Transnational Self in Autumn Moon." Asian Cinema 15, 1 (Spring 2004): 57-72.

Louie, Kam. "Floating Life: Nostalgia for the Confucian Way in Suburban Sydney." In Chris Berry, ed., Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 97-103.

Millard, Katherine. "An Interview with Clara Law." Senses of Cinema 13 (April-May, 2001).

Teo, Stephen. "Autumn Moon." Senses of Cinema 12 (2001).

-----. "Temptation of a Monk." Senses of Cinema 12 (2001).

-----. "Floating Life: The Heaviness of Moving." Senses of Cinema 12 (2001).

Yue, Audrey. "Migration-as-Transition: Pre-Post-1997 Hong Kong Culture in Clara Law's Autumn Moon." Intersections 4 (Sept. 2000).     

Berry, Chris. "Wedding Banquet: A Family (Melodrama) Affair." In Chris Berry, ed., Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 183-90.

Berry, Michael. "Ang Lee: Freedom in Film." [Interview]. In Berry, ed., Speaking in Images: Interviews with Contemporary Chinese Filmmakers. NY: Columbia UP, 2005, 324-61.

Cai, Rong. "Gender Imaginations in Crouching Tiger, Hidden Dragon and the Wuxia World." positions: east asia cultures critiques 13, 2 (Fall 2005): 441-71.

Chan, Felicia. "Crouching Tiger, Hidden Dragon: Cultural Migrancy and Translatability." In Chris Berry, ed., Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 56-64.

Chan, Kenneth. "The Global Return of the Wu Xia Pian (Chinese Sword-Fighting Movie): Ang Lee's Crouching Tiger Hidden Dragon." Cinema Journal 43, 4 (2004): 3-17.

Chang, Eileen, Wang Hui Ling, and James Schamus. Lust, Caution: The Story, the Screenplay, and the Making of the Film. NY: Pantheon Books, 2007. [publisher's blurb]

Chiang, Mark. "Coming Out into the Global System: Postmodern Patriarchies and Transnational Sexualities in The Wedding Banquet." In David L. Eng and Alice Y. Hom, eds., Q & A: Queers in Asian America. Philadephia: Temple University Press, 1998.

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.

Chua, Ling-Yen. "The Cinematic Representation of Asian Homosexuality in 'The Wedding Banquet.'" (Special Double Issue Multicultural Queer: Australian Narratives) Journal of Homosexuality 36, 3/4 (March, 1999): 99.

Corliss, Richard. "Crouching China, Hidden Agenda." Time.com (March 14, 2001).

Darius, Wei Ming and Eileen Fung. "Breaking the Soy Sauce Jar: Diaspora and Displacement in the Films of Ang Lee." In Sheldon Lu, ed., Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997.

Dilley, Whitney Crothers. The Cinema of Ang Lee: The Other Side of the Screen. London: Wallflower Press, 2007.

Hsiu-Chuang, Deppman. "Recipes for a New Taiwanese Identity? Food, Space, and Sex in the Works of Ang Lee, Ming-liang Tsai, and T'ien-wen Chu." American Journal of Chinese Studies 8, 2 (Oct. 2001): 145-68.

Jay, Jennifer. "Crouching Tiger Hidden Dragon: (Re)packing Chinas and Selling the Hybridized Culture in an Age of Transnationalism." In Maria N. Ng and Philip Holden, eds., Reading Chinese Transnationalisms Society, Literature, Film. HK: Hong Kong UP, 2006.

Kim, L. S. "Crouching Tiger, Hidden Dragon, Making Women Warriors--A Transnational Reading of Asian Women Action Heroes." Jump Cut 48 (Winter 2006).

Lee, David. "Ang Lee: Thoughts After the Oscars." Sinorama (May 1994): 6-24.

Levie, Matthew. "Crouching Tiger, Hidden Dragon: The Art Film Hidden Inside the Chop-Socky Flick." Bright Lights Film Journal 33 (July 2001).

Lim, January. "Father Knows Best: Reading Sexuality in Ang Lee's The Wedding Banquet and Chay Yew's Porcelain." In Maria N. Ng and Philip Holden, eds., Reading Chinese Transnationalisms Society, Literature, Film. HK: Hong Kong UP, 2006.

Lim, Song Hwee. "The Burden of Representation: Ang Lee's The Wedding Banquet." In Lim, Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas. Honolulu: University of Hawai'i, 2006, 41-68.

Lu, Sheldon. "Crouching Tiger, Hidden Dragon, Bouncing Angels: Hollywood, Taiwan, Hong Kong, and Transnational Cinema." In Sheldon Lu and Yueh-Yu Yeh, eds., Chinese-Language Film: Historiography, Poetics, Politics. Honolulu: University of Hawai'i Press, 2005, 220-36.

Ma, Sheng-mei. "Ang Lee's Domestic Tragicomedy: Immigrant Nostalgia, Exotic/Ethnic Tour, Global Market." Journal of Popular Culture 30, 1 (1996): 191-201.

Martin, Fran. "The China Simulacrum: Genre, Feminism, and Pan-Chinese Cultural Politics in Crouching Tiger, Hidden Dragon." In Chris Berry and Feii Lu, eds., Island on the Edge: Taiwan New Cinema and After. HK: Hong Kong University Press, 2005, 149-160.

Minnihan, David. "Ang Lee." Senses of Cinema--Great Directors Critical Database.

Nordin, Kenneth D. "Shadow Archetypes in Ang Lee's Crouching Tiger, Hidden Dragon and The Hulk: A Jungian Perspectve." Asian Cinema 15, 2 (Fall/Winter 2004): 120-132.

Rothman, William. "New Life for an Old Genre: Ang Lee's Crouching Tiger, Hidden Dragon." Persimmon 2,3 (Winter 2002): 80-83.

Smith, Ian Haydn. "Ang Lee." In Yvonne Tasker, ed., Fifty Contemporary Filmmakers. London, New York: Routledge, 2002, 227-35.

Shi, Shu-mei. "Globalisation and Minoritisation: Ang Lee and the Politics of Flexibility." New Formations: a Journal of Culture/Theory/Politics. 40 (Spring 2000): 87-101.

Teo, Stephen. "Love and Swords: The Dialectics of Martial Arts Romance (A Review of Crouching Tiger, Hidden Dragon)." Senses of Cinema 11 (Dec. 2000/Jan.2001).

-----. "We Kicked Jackie Chan's Ass: An Interview with James Schamus." Senses of Cinema 13 (April-May 2001).

Wei, Ti. "Generational/Cultural Contradictions and Global Incorporation: Ang Lee's Eat Drink Man Woman." In Chris Berry and Feii Lu, eds., Island on the Edge: Taiwan New Cinema and After. HK: Hong Kong University Press, 2005, 101-12.         

Kato, M. T. "Burning Asia: Bruce Lee's Kinetic Narrative of Decolonization." Modern Chinese Literature and Culture 17, 1 (Spring 2005): 62-99.

Berry, Chris. "Stellar Transit: Bruce Lee's Body or Chinese Masculinity in a Transnational Frame." In Martin and Larissa Heinrich, eds., Embodied Modernities: Corporeality, Representation, and Chinese Cultures. Honolulu: University of Hawaii Press, 2006, 218-34.

Block, Alex Ben. The Legend of Bruce Lee. NY: Dell, 1974.     

Teng, Sue-Feng. "From Bruce Lee to Jackie Chan-The Kungfu Film Carries On." Sinorama (Jun. 1996): 28-35.

Hummel, Volker. "The Missing: An Interview with Lee Kang-sheng." Senses of Cinema 32 (July-Sept. 2004).

Lu, Tonglin. "Culture and Violence: Li Shaohong, Bloody Dawn." in Lu, Confroniting Modernity in the Cinemas of Taiwan and Mainland China. Cambridge: Cambridge UP, 2002, 157-72.

Reynaud, Berenice. "Li Shaohong." Cinemaya 25-26 (1994-1995): 8-9.

Rosenbaum, Jonathan. "How to Read the Revolution--Review of Blush." Chicago Reader (October 4, 1996).

Xu, Jian. "Blush from Novella to Film: The Possibility of Critical Art in Commodity Culture." Modern Chinese Literature and Culture 12, 1 (Spring 2000): 115-63.   

Berry, Michael. "Li Yang: The Future of Chinese Cinem?" [Interview]. In Berry, ed., Speaking in Images: Interviews with Contemporary Chinese Filmmakers. NY: Columbia UP, 2005, 208-32..

Blind Shaft website (Ocean Films.com)

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).

Berry, Chris. "Suzhou River." (review). Cinemaya 49 (2000): 20-21.

Greenberg, Jonah. "Lou Ye's Variations on Romance." Virtual China (April 18, 2000).

Metzger, Sean. "The Little (Chinese) Mermaid: Importing 'Western' Femininity in Lou Ye's Suzhou he (Suzhou River)." In Andrew David Jackson, Michael Gibb, and David White, eds., How East Asian Films Are Reshaping National Identities: Essays on the Cinemas of China, Japan, South Korea, and Hong Kong. Albany: The Edwin Mellen Press, 2007, 135-154.

Silbergeld, Jerome. "Hitchcock with a Chinese Face: Lou Ye's Suzhou River." Persimmon 3, 2 (Summer 2002): 70-73.

-----. 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] [MCLC Resource Center review by Robert Chi]

Cui, Shuqin. "Ning Ying's Beijing Trilogy: Cinematic Configuration of Age, Class, and Sexuality." In Zhen Zhang, ed., The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-first Century. Durham: Duke UP, 2007, 241-63.

Li, Wei. "Ning Ying Declares No More Fantasy." China Screen 3 (1994): 12-13.

White, Jerry. "The Films of Ning Ying: China Unfolding in Miniature." Cineaction 42, 1(1997): 2-9.

Podvin, Thomas. "A Woman of Substance, director Peng Xiaolian on Chinese women, the film industry and Shanghai." (Nov. 4, 2005).

Movius, Lisa. "Old Shanghai Made New." Asian Wall Street Journal (June 23-25, 2006).

Berry, Michael. "Tian Zhuangzhuang: Stealing Horses and Flying Kites." [Interview]. In Berry, ed., Speaking in Images: Interviews with Contemporary Chinese Filmmakers. NY: Columbia UP, 2005, 50-81.

Clark, Paul. "From the Margins: Tian Zhuangzhuang's Films." In Clark, Reinventing China: A Generation and Its Films. HK: The Chinese University Press, 2005, 106-21.

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

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

Lopate, Phillipe. "Odd Man Out: Tian Zhuanzhuang Interviewed." Film Comment (July/Aug. 1994): 60-64.

Lu, Tonglin. "Allegorical and Realistic Portrayals of the Cultural Revolution: Tian Zhuanzhuang, On the Hunting Ground, Horse Thief, Blue Kite." In Lu, Confroniting Modernity in the Cinemas of Taiwan and Mainland China. Cambridge: Cambridge UP, 2002, 58-92..

Nielsen, Hanna. "The Three Father Figures in Tian Zhuangzhuang's Film The Blue Kite: The Emasculation of Males by The Communist Party." China Information 13, 4 (Spring 1999): 83-96.

Niogret, Hubert. "Tian Zhuangzhuang Interviewed." Positif 397 (1994): 38-42.

Rayns, Tony. "China: Censors, Scapegoats and Bargaining Chips." Index on Censorship 6 (1995): 69-81. [includes interview with Tian]

Reynaud, Berenice. "Cutting Edge and Missed Encounters--Digital Short Films by Three Filmmakers: Jia Zhangke (In Public), John Akomfrah (Digitopia), Tsai Ming-Liang (A Converstation with God)." Senses of Cinema 20 (May-June 2002).

Sklar, Robert. "People and Politics, Simple and Direct--an Interview with Tian Zhuangzhuang." Cineaste (Oct. 1994): 36-38.

Tam, Kwok-kan and Wimal Dissanayake. "Tian Zhuangzhuang: Reconfiguring the Familiar and the Unfamiliar." New Chinese Cinema. Oxford: Oxford University Press, 1998.

Vidal-Hall, Judith. "History, Homage, Memory: Interview with Tian Zhuangzhuang." Index on Censorship 24, 6 (1995): 80-81.

Wang, Ban. "Trauma and History in Chinese Film: Reading The Blue Kite against Melodrama." Modern Chinese Literature and Culture 11, 1 (Spring 1999): 125-56.

Grossman, Andrew. "The Belated Auteurism of Johnnie To." Senses of Cinema 12 (2001).

Teo, Stephen. Director in Action: Johnnie To and the Hong Kong Action Film. HK: Hong Kong University Press, 2007. [press blurb]

Bachner, Andrea. "Cinema as Heterochronos: Temporal Folds in the Work of Tsai Ming-liang." Modern Chinese Literature and Culture 19, 1 (Spring 2007): 60-90.

Bao, Weihong. "Biomechanics of Love: Reinventing the Avant-garde in Tsai Ming-liang's Wayward 'Pornographic Musical.'" Journal of Chinese Cinemas 1, 2 (May 2007): 139-60.

Berry, Chris. "Where is the Love? The Paradox of Performing Loneliness in Ts'ai Ming-liang's Vive L'Amour." In Lesley Stern and George Kouvaros, eds., Falling for You: Essays on Cinema and Performance. Sydney: Power Publications, 1999, 147-75.

-----. "Where is the Love? Hyperbolic Realism and Indulgence in Vive L'Amour." In Chris Berry and Feii Lu, eds., Island on the Edge: Taiwan New Cinema and After. HK: Hong Kong University Press, 2005, 79-88.

Berry, Michael. "Tsai Ming-liang: Trapped in the Past." [Interview]. In Berry, ed., Speaking in Images: Interviews with Contemporary Chinese Filmmakers. NY: Columbia UP, 2005, 362-98.

Betz, Mark. "The Cinema of Tsai Ming-liang: A Modernist Genealogy." In Maria N. Ng and Philip Holden, eds., Reading Chinese Transnationalisms Society, Literature, Film. HK: Hong Kong UP, 2006.

Bloom, Michelle E. "Contemporary Franco-Chinese Cinema: Translation, Citation and Imitation in Dai Sijie’s Balzac and the Little Chinese Seamstress and Tsai Ming-Liang’s What Time is it There?" Quarterly Review of Film and Video 22, 4 (2005): 311-25.

Cai Mingliang, et al. Aiqing wansui: Cai Mingliang de dianying (Vive l'amour: Tsai Ming-liang's film). Taipei: Wanxiang, 1994.

Chan, Kenneth. "Goodbye, Dragon Inn: Tsai Ming-liang's Political Aesthetic of Nostalgia, Place, and Lingering." Journal of Chinese Cinemas 1, 2 (May 2007): 89-104.

Cheong, Wong Tuck. "What Time Is It There?" [review] Cinemaya 52 (Summer 2001).

Chong, Woei Lien, "Alienation in the Modern Metropolis: The Visual Idiom of Taiwanese Film Director Tsai Ming-liang." China Information 9, 4 (Spring 1995): 81-95.

Hsiu-Chuang, Deppman. "Recipes for a New Taiwanese Identity? Food, Space, and Sex in the Works of Ang Lee, Ming-liang Tsai, and T'ien-wen Chu." American Journal of Chinese Studies 8, 2 (Oct. 2001): 145-68.

Hsu, Jen-yi. "Re-enchanting the Everyday Banal in the Age of Globalization: Alienation, Desire, and Critique of Capitalist Temporality in Tsai Ming-liang's The Hole and What Time Is It There?" NTU Studies in Language and Literature 17 (June 2007): 133-58.

Hu, Brian. "Goodbye City, Goodbye Cinema: Nostalgia in Tsai Ming-liang's The Skywalk is Gone." Senses of Cinema 29 (Nov.-Dec. 2003).

Hughes, Darren. "Tsai Ming-liang." Senses of Cinema--Great Directors, a Critical Database.

Koc, Aysegu. "Vive le Cinema: A Reading of What Time Is it There?" CineAction 62, 1 (2003): 54-57.

Kraicer, Shelly. "Interview with Cai Mingliang." Postions 8, 2 (Fall 2000): 579-588.

-----. "What Time Is It There? A Comedy of Rebirth." Persimmon 3, 1 (Spring 2002): 89-91.

Lee, Vivian. "Pornography, Musical, Drag, and the Art Film: Performing 'Queer' in Tsai Ming-liang's The Wayward Cloud." Journal of Chinese Cinemas 1, 2 (May 2007): 117-38.

Leopold, Mark. "Confined Space--Interview with Tsai Ming-Liang." Senses of Cinema 20 (May-June 2002).

Lim, Song Hwee. "Confessing Desire: The Poetics of Tsai Ming-liang's Queer Cinema." In Lim, Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinemas. Honolulu: University of Hawai'i, 2006, 126-52.

-----. "Positioning Auteur Theory in Chinese Cinemas Studies: Intratextuality, Intertextuality, and Paratextuality in the Films of Tsai Ming-liang." Journal of Chinese Cinemas 1, 3 (Sept. 2007): 223-.

Liu, Ying Hao. "'I Thought of the Time We Were in Front of the Flowers': Analyzing the Opening Credits of Goodbye Dragon Inn." In Darrell William Davis and Ru-Shou Robert Chen, eds., Cinema Taiwan: Politics, Popularity and State of the Arts. NY: Routledge, 2007, 172-82.

Marchetti, Gina. "On Tsai Mingliang's The River." In Chris Berry and Feii Lu, eds., Island on the Edge: Taiwan New Cinema and After. HK: Hong Kong University Press, 2005, 113-26.

Martin, Fran. "Wild Women and Mechanical Men: A Review of The Hole." Intersections 4 (Sept. 2000).

----. "Vive L'Amour: Eloquent Emptiness." In Chris Berry, ed., Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 175-82.

-----. "The European Undead: Tsai Ming-liang's Temporal Dysphoria." Senses of Cinema (2003).

-----. "Tsai Ming-liang's Intimate Public Words." Journal of Chinese Cinemas 1, 2 (May 2007): 83-88.

Neri, Corrado. Tsai Ming-liang. Venezia: Libreria Editrice Cafoscarina, 2004.

-----. "Past Masters, New Waves: Tsai Ming-liang / Francois Truffaut." Transtext(e)s Transcultures: Journal of Global Cultural Studies 1 (May 2006).

-----. "Tsai Ming-liang and the Lost Emotions of the Flesh." positions: east asian cultures critiques 16, 2 (Fall 2008): 389-408.

Peranson, Mark. "Interview: Cities and Loneliness: Tsai Ming-liang's What Time Is It There?" indieWIRE (Jan. 22, 2002):.

Rapfogel, Jared. "Tsai Ming-liang: Cinematic Painter." Senses of Cinema 20 (May-June 2002).

Rapfogel, Jared. "Taiwan's Poet of Solitude: An Interview with Tsai Ming-liang." Cinéaste 4 (Fall 2004): 26-29.

Rehm, Jean-Pierre, Olivier Joyard, and Daniele Riviere. Ts'ai Ming-liang. Paris: Dis voir, 1999.

Rojas, Carlos. "Nezha Was Here": Structures of Dis/placement in Tsai Ming-liang's Rebels of the Neon God." Modern Chinese Literature and Culture 15, 1 (Spring 2003): 63-89.

Stephens, Chuck. "Intersection: Tsai Ming-liang's Yearning Bike Boys and Heartsick Heroines." Film Comment 32, 5 (1996): 20-23.

Trice, Jasmine Nadua. "Diseased Bodies and Domestic Space: Transmodern Space in Tsai Ming-Liang's The Hole." Asian Cinema 16, 2 (Fall/Winter 2005): 255-67.

Udden, James . "The Future of a Luminescent Cloud: Recent Developments in a Pan-Asian Style." Synoptique 10 (Aug. 2005).

Villella, Fiona A. "Notes on Tsai Ming-liang's The River." Senses of Cinema 12 (2001).

Wang, Ban. "Black Holes of Globalization: Critique of the New Millennium in Taiwan Cinema." Modern Chinese Literature and Culture 15, 1 (Spring 2003): 90-119. [deals with The Hole]

Wang, Shujen. "My Films Reflect My Living Situation": An Interview with Tsai Ming-liang on Film Spaces, Audiences, and Distribution." positions: east asia cultures critique 14, 1 (Spring 2007): 219-41. [Project Muse link]

Wen Tianxiang . 2002. Guangying dingge: Cai Mingliang de xinling changyu (Patterns of light and shadow: Cai Mingliang's psychological terrain). Taipei: Hengxing.

Wood, Chris. "Realism, Intertextuality and Humour in Tsai Ming-liang's Goodbye, Dragon Inn." Journal of Chinese Cinemas 1, 2 (May 2007): 105-116.

Wu, I-Fen. "Flowing Desire, Floating Souls: Modern Cultural Landscape in Tsai Ming-Liang's Taipei Trilogy."Cineaction 58 (Jan. 2002): 58-64.

Zhu, Ying. "Ts'ai Ming-liang." In David Gerstner, ed., International Encyclopedia of Queer Culture – Contemporary Gay, Lesbian, Bisexual and Transexual Cultures. London: Routledge: 2006.

Hendrix, Grady. "Tsui Hark." Senses of Cinema--Great Directors, a Critical Database.

Ho, Sam and Wai-leng Ho, eds. The Swordsman and His Jianghu: Tsui Hark and Hong Kong Film. HK: HK Film Archive, 2002.

Hwang, Angela. "The Irresistible: Hong Kong Movie Once Upon a Time in China Series--An Extensive Interview with Director/Producer Tsui Hark." Asian Cineam 10, 1 (1998): 10-24.

Li, Cheuk-to. "Tsui Hark and Western Interest in Hong Kong Cinema." Cinemaya 21 (1993): 50-51.

Lo, Kwai-Cheung. "Once Upon A Time: Technology Comes to Presence in China." Modern Chinese Literature 7, 2 (1993): 79-96.

Morton, Lisa. The Cinema of Tsui Hark. Jefferson City, MC: McFarland, 2001.

Reid, Craig D. "Fant-asia Filmmaker: Producer Tsui Hark." Imagi-Movies 2, 4 (1995): 21-23, 27-30.

Reid, Criag D. "Interview with Tsui Hark." Film Quarterly 48, 3 (1995): 34-41.

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

Schroeder, Andrew. Tsui Hark's Zu: Warrior from the Magic Mountain. HK/Seattle: Hong Kong UP/University of Washington Press, 2004.

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Teo, Stephen. "Tsui Hark: National Style and Polemic." In Esther Yau, ed., At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of Minnesota Press, 2001, 143-58.

-----. "Tsui Hark Filmmography." Senses of Cinema 17 (Nov./Dec. 2001).

-----. "Starting Over: Tsui Hark's Time and Tide (2000)." Senses of Cinema 17 (Nov./Dec. 2001).

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Robin Visser. "Spaces of Disappearance: Aesthetic Responses to Contemporary Beijing City Planning." Journal of Contemporary China 13, 39 (May 2004): 277-310. [On Qiu Huadong's Chengshi zhanche (City Tank), Wang Xiaoshuai's Jidu hanleng (Frozen), and experimental art.]

"A Trip Through Wang Xiaoshuai's Film World." China.org.cn

Xu, Jian. "Representing rural migrant workers in the city: experimentalism in Wang Xiaoshuai's So Close to Paradise and Beijing Bicycle." Screen 46, 4 (Winter 2005): 433-49.

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Ashes of Time (Wong Kar-wai Website)

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Bettinson, Gary. "Reflections on a Screen Narcissist: Leslie Cheung's Star Persona in the Films of Wong Kar-wai." Asian Cinema 16, 1 (Spring/Summer 2005): 220-38.

Brunette, Peter. Wong Kar-wai. Urbana: University of Illinois Press, 2005.

Cameron, Alan. "Trajectories of Identiification: Travel and Global Culture in the Films of Wong Kar-wai." Jump Cut 49 (Spring 2007).

Chen, Ya-chen. "As Simple as an Egg: Lessons about Love in Ashes of Time." Asian Cinema 17, 2 (Fall/Winter 2006): 84-102.

Cheng, Sinkwan. "Chinese Cinema in the Global Age: Ashes of Time and the Human Condition." Asian Cinema 19, 1 (Spring/Summer 2008): 86-103.

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Chow, Rey. "Nostalgia of the New Wave: Structure in Wong Kar-wai's Happy Together." Camera Obscura 42 (1999): 30-49.

-----. "Sentimental Returns: On the Uses of the Everyday in the Recent Films of Zhang Yimou and Wong Kar-wai." In Maria N. Ng and Philip Holden, eds., Reading Chinese Transnationalisms Society, Literature, Film. HK: Hong Kong UP, 2006.

Dissanayake, Wimal with Dorothy Wong. Wong Kar-Wai's Ashes of Time. HK: Hong Kong University Press, 2003. [MCLC Resource Center review by John Christopher Hamm]

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Garcia, Roger. "The Touch of Hu." Cinema (Winter/Spring 1998): 77-79.

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Hampton, Howard. "Blur as Genre." (Wong Kar-Wai's film Chungking Express) Artforum 34, 7 (March, 1996).

Havis, Richard J. "Wong Kar-wai: One Entrance, Many Exits." Cinemaya (Oct/Dec 1997): 15-16.

Huang, Tsung-yi. "Chungking Express: Walking with a Map of Desire in the Mirage of the Global City." Quarterly Review of Film and Video (Fall 2001): 129-42.

-----. "Hong Kong Blue: Flaneurie with the Camera's Eye in a Phantasmagoric Global City." JNT-Journal of Narrative Theory 30, 3 (Fall 2000): 385-402.

Khoo, Olivia. "Love in Ruins: Spectral Bodies in Wong Kar-wai's In the Mood for Love." In Martin and Larissa Heinrich, eds., Embodied Modernities: Corporeality, Representation, and Chinese Cultures. Honolulu: University of Hawaii Press, 2006, 235-52.

Kraicer, Shelly. "Time Blossoms, Time Fades" (reivew of In the Mood for Love).

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Leung, Anthony. "Meditations on Loss: A Framework for the Films of Wong Kar-wai." Asian Cult Cinema (Jan. 1999).

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n.a. "Wong Kar-wai: Charisma Express." Sight and Sound website.

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------. "Laying Foundations: Dragon Gate Inn." Cinemaya (Winter/Spring 1998): 80-83.

-----. "Chungking Express (Chongqing Senlin)." [film review] Sight and Sound 5, 9 (Sept, 1995).

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-----. Wong Kar-wai. London: BFI, 2005.

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Villella, Fiona A., compiler. "The Cinema of Wong Kar-wai--A Writing Game." Senses of Cinema 13 (April-May 2001).

Wypkema, Laurel. "Corridor Romance: Wong Kar-wai's Intimate City." Synoptique 10 (Aug. 2005).

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Wong, Kar-wai. "Wong Kar-wai on Chungking Express." Sight and Sound (Sept. 1995): 14-16.

Wong Kar-wai's Cinema Lesson. Cannes Film Festival 2001 Website.

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Yeh, Emily Yueh-yu and Lake Wang Hu. "Transcultural Sounds: Music, Identity, and the Cinema of Wong Kar-wai." Asian Cinema 19, 1 (Spring/Summer 2009): 32-46.

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Zhou, Juanita Huan. "Ashes of Time: The Tragedy and Salvation of the Chinese Intelligentsia." Asian Cinema 10, 1 (1998): 62-70.

Zhu, Ying. "Wong Kar-wai." Zhu, Ying. "Chinese Comrade Literature." In David Gerstner, ed., International Encyclopedia of Queer Culture – Contemporary Gay, Lesbian, Bisexual and Transexual Cultures. London: Routledge: 2006.

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Bliss, Michael. Between the Bullets: The Spiritual Cinema of John Woo. Lanham, MD: The Scarecrow Press, 2002.

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Fang, Karen. John Woo's A Better Tomorrow. HK: Hong Kong UP, 2004.

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Heard, Christopher. Ten Thousand Bullets: The Cinematic Journey of John Woo. Los Angeles: Lone Eagle, 2000.

Koven, Mikel J. "My Brother, My Lover, My Self: Traditional Masculinity in the Hong Kong Action Cinema of John Woo." Canadian Folklore Canadien 19, 1 (1997).

Magal, Uma. "At One with the Other: An Examination of John Woo's Vision Climaxing in Face Off." Asian Cinema 10, 2 (Spring/Summer 1999): 80-86.

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-----. "Things I Felt Were Being Lost: Interview with John Woo." Film Comment 29, 5 (1993): 50-52.

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-----. "Reinventing Masculinity: The Spectacle of Male Intimacy in the Films of John Woo." Film Quarterly 49, 4 (1996): 23-34.

Sandell, Jillian. "Interview with John Woo." Bright Lights 13 (1994): 36-39.

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Stringer, Julian. "Your Tender Smiles Give Me Strength: Paradigms of Musculinity in John Woo's A Better Tommorrow and The Killer." Screen 38 (1997): 25-41.

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-----. "Space, Place and Spectacle: The Crisis Cinema of John Woo." Cinema Journal 36, 2 (Winter 1997): 67-84. Rpt in Poshek Fu and David Desser, eds., The Cinema of Hong Kong: History, Arts, Identity. Cambridge: Cambridge UP, 2000, 137-57.

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Lü Xinyu. Jilu Zhongguo: dangdai Zhongguo xin jilu yundong (Documenting China: contemporary China’s new documentary movement). Beijing: Sanlian shudian, 2003.
 
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Reynaud, Bérénice. "Dancing With Myself, Drifting With My Camera: The Emotional Vagabonds of China's New Documentary." Senses of Cinema 28 (September-October 2003).  
     
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Wu Wenguang. Jingtou xiang ziji de yanjing yiyang (The lens is the same as my eye). Shanghai: Shanghai yishu, 2001.
 
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Meyet, Richard J. Ruan Lingyu: The Goddess of Shanghai. HK: Hong Kong UP, 2005.

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Chi, Robert. "The Red Detachment of Women: Resenting, Regendering, Remembering." In Chris Berry, ed., Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 152-59.

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-----. "Symbolic Representation and Symbolic Violence: Chinese Family Melodrama of the Early 1980s." East-West Film Journal 4.1 (Dec. 1989): 79-112.

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Kraicer, Shelly and Lisa Roosen-Runge. "Interview with Edward Yang," CineAction 47 (Summer 1998).

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-----. "A New Kind of Alienation: Edward Yang's A Brighter Summer Day." Cinemaya 13 (1991): 41-44.

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Yeh, Emilei Yueh-yu. "Elvis, Allow Me to Introduce Myself: American Music and Neocolonialism in Taiwan Cinema." Modern Chinese Literature and Cutlure 15, 1 (Spring 2003): 1-28. [deals primarily with A Brighter Summer Day]

Yiyi (And a one and a two) website

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Berry, Chris. "Zhang Yimou: Film Maker with the Golden Touch." China Reconstructs (May 1988): 13-17.

-----. "Calm in the Eye of the Storm." Cinemaya 30 (1995). [reprinted here on the AsianFilms.org website]

Berry, Michael. "Zhang Yimou: Flying Colores." [Interview]. In Berry, ed., Speaking in Images: Interviews with Contemporary Chinese Filmmakers. NY: Columbia UP, 2005, 108-41.

Brook, Vincent. "To Live and Dye in China: The Personal and Political in Zhang Yimou's Judou." Cineaction 60, 1 (2003): 21-29

Callahan, W.A. "Gender, Ideology, Nation: Ju Dou in the Cultural Politics of China." East-West Film Journal VII.1 (January 1993): 52-80.

Chan, Evans. "Zhang Yimou's Hero: The Temptation of Fascism." Film International 8 (March 2004). [Evans Chan analyzes the career of a director working under restrictions imposed by state censors]

Chen, Xihe. "On the Father Figures in Zhang Yimou's Films: From Red Sorghum to Hero." Asian Cinema 15, 2 (Fall/Winter 2004): 133-40.

Chen, Ya-chen. "There Is a Beauty in the Door(way) of Flying Daggers." Asian Cinema 16, 2 (Fall.Winter 2005): 277-91.

China News Digest. "Interview with Zhang Yimou."

Chiu, Tzuhsiu Beryl. "Public Secrets: Geopolitical Aesthetics in Zhang Yimou's Hero." E-ASPAC: An Electronic Journal of Asian Studies on the Pacific Coast (2004/05).

Chow, Rey. "We Endure, Therefore We Are: Survival, Governance, and Zhang Yimou's To Live." South Atlantic Quarterly 95, 4 (Fall 1996): 1039-64.

-----. "Not One Less: The Fable of Migration." In Chris Berry, ed., Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003, 144-51.

-----. "Sentimental Returns: On the Uses of the Everyday in the Recent Films of Zhang Yimou and Wong Kar-wai." In Maria N. Ng and Philip Holden, eds., Reading Chinese Transnationalisms Society, Literature, Film. HK: Hong Kong UP, 2006.

Chute, David. "Golden Hours." Film Comment 27, 2 (March-April 1991):64-66. [author relates visit to filming of Zhang Yimou's Raise the Red Lantern in Shanxi]

Clark, Paul. "Reds: Zhang Yimou's Films." In Clark, Reinventing China: A Generation and Its Films. HK: The Chinese University Press, 2005, 164-86.

Cui, Shuqin. "Gendered Perspective: The Construction and Representation of Subjectivity and Sexuality in Ju Dou." In Sheldon Lu, ed. Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997.

-----. "Raise the Red Lantern: Cinematic Orient and Female Conflict." In Film Analysis: A Norton Reader. NY: W.W. Norton and Co., 2005.

Dai, Qing. "Raised Eyebrows for Raise the Red Lantern." Public Culture 5 (1993); 333-37.

de la Garza, Armida. "Negotiating National Identity on Film: Copeting Readings of Zhang Yimou's Hero." Media Asia 34, 1 (2007): 27-32.

Delamoir, Jeanette. "Woman as Spectacle in Zhang Yimou's 'Theatre of Punishments." Screening the Past 5 (Dec. 1998).

Deppman, Hsiu-Chuang. "Body, Space, and Power: Reading the Cultural Images of Concubines in the Works of Su Tong and Zhang Yimou." Modern Chinese Literature and Culture 15, 2 (Fall 2003): 121-53.

Eng, Robert Y. "Is Hero a Paean to Authoritarianism?" Asia Media (posted Sept. 7, 2004).

Erlich, Linda. "Courtyards of Shadow and Light." Cineyama 37 (1997): 8-16. (section on Raise the Red Lantern)

Farquhar, Mary Ann. "Oedipality in Red Sorghum and Judou." Cinemas: Le nouveau Cinema Chinois 3, 1/2 (Spring 1993): 61-86.

----. "Zhang Yimou." Senses of Cinema--Great directors, a Critical Database. [includes biography, bibliography, filmography, as well as links to Senses of Cinema articles on Zhang and his films]

Freeman, Mark. "Eastern Culture, Western Gaze: The Cinema of Zhang Yimou." [unpublished on-line article]

Gao, Yuan. "Archetypes in Zhang Yimou's Films: Significance of Regional Culture." Asian Cinema 19, 1 (Spring/Summer 2008): 104-22.

Gateward, Frances, ed. Zhang Yimou: Interviews. Jackson: University of Mississippi, 2001. [collection of previously published interviews with Zhang Yimou]

Guo, Yingjie. "National Unification Overrides All: The Heroism of Hero." Media Asia 34, 1 (2007): 3-13.

Havis, Richard James. "The Selling of Zhang Yimou: Marketing Chinese Images." Cinemaya 30 (1995).

Hintzen, Geor. "Zhang Yimou's 'The Story of Qiu Ju': A Propaganda Film for Recent Legislation." China Information 7, 4 (Spring 1993): 48-54.

House of Flying Daggers (Shimian maifu) [official website]

Hsiau, A-chin. "The Moral Dilemma of China's Modernization: Rethinking Zhang Yimou's Qiu Ju da guansi." Modern Chinese Literature 10, 1 (1998): 191-206.

Kaufmann, Stanley. "Emerging and Submerging: Red Sorghum, Madame Sousatzka." New Republic (Oct 17 1988):36-37.

Klawans, Stuart. "Zhang Yimou, Local Hero." Film Comment 31, 5 (1995).

Kong, Haili. "Symbolism Through Zhang Yimou's Subversive Lens in His Early Films." Asian Cinema 8, 2 (Winter 1996-97): 98-115

Kraicer, Shelly. "Allegory and Ambiguity in Zhang Yimou's Shanghai Triad." CineAction 42 (Feb 1997): 18-27.

-----. "Music and Femininity in Zhang Yimou's Familiy Melodrama." CineAction 42, 1 (April 1997).

-----. "Zhang Yimou in Lumiere et Compagnie (1995): 52 Seconds x 9 Readings: An Exercise in Over-interpretation." Asian Cinema 10, 1 (1998): 112-17.

----. "Absence as Spectacle: Zhang Yimou's Hero." Cinema Scope 5, 1 (2003).

Lan, Feng. "Zhang Yimou's Hero: Reclaiming the Martial Arts Film for 'All under Heaven.'" Modern Chinese Literature and Cutlure 20, 1 (Spring 2008): 1-43.

Larson, Wendy. "Zhang Yimou: Inter/National Aesthetics and Erotics." In Soren Clausen, Roy Starrs, and Anne Wedell-Wedellsborg, eds., Cultural Encounters: China, Japan, and the West: Essays Commemorating 25 Years of East Asian studies at the University of Aarhus. Aarhus: Aarhus University Press, 1995, 215-26; also published in Chinese translation as "Dangdai Zhongguo shige zhong de meigan he seqing: Zhang Yimou yingpian zhong de guojixing he minzuxing." Qingxiang (Trends) (1997).

-----. "Zhang Yimou's To Live and the Field of Film." In Michel Hockx, ed., The Literary Field of Twentieth Century China. Honolulu: University of Hawaii Press, 1999, 178-97.

Lau, Jenny Kwok Wah. "Judou: An Experiment in Color and Portraiture in Chinese 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, 127-45.

-----. "Hero: China's Response to Hollywood Globalization." Jump Cut 49 (Spring 2007).

Lee, Joann. "Zhang Yimou's Raise the Red Lantern: Contextual Analysis of Film Through a Confucian/ Feminist Matrix." Asian Cinema 8, 1 (Spring 1996): 120-27.

Li, Erwei. "Zhang Yimou: Magician of the Chinese Cinema." Cinemaya 30 (1995). [reprinted here on the AsianFilms.org website]

-----. "Breaking Up Is Hard to Do: Zhang Yimou Speaks About His New Film." Cinemaya 34 (1996): 27-29.

Li, H.C. "Color, Character, and Culture: On Yellow Earth, Black Canon Incident, and Red Sorghum." Modern Chinese Literature 5, 1 (Spring 1989): 91-119.

Lorrain, Fiona Sze. "Qiu Ju Goes to Court: Relating Cinematic Art to Juridical Reality." Asian Cinema 17, 2 (Fall/Winter 2006): 173-81.

Lu, Sheldon Hsiao-peng. "National Cinema, Cultural Critique, Transnational Capital: The Films of Zhang Yimou." In Sheldon Lu, ed. Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University of Hawaii Press, 1997.

-----. “Understanding Chinese Film Culture at the End of the Twentieth Century: The Case of Not One Less by Zhang Yimou.” Journal of Modern Literature in Chinese 4, 2 (2001): 123-42.

-----. "Zhang Yimou." In Yvonne Tasker, ed., Fifty Contemporary Filmmakers. London, New York: Routledge, 2002, 412-17.

-----. "Chinese Film Culture at the End of the Twentieth Century: The Case of Not One Less by Zhang Yimou." In Sheldon Lu and Yueh-Yu Yeh, eds., Chinese-Language Film: Historiography, Poetics, Politics. Honolulu: University of Hawai'i Press, 2005, 120-40.

Lu, Tonglin. "The Zhang Yimou Model." Journal of Modern Literature in Chinese 3, 1 (July 1999): 1-22. Rpt. in Lu, Confroniting Modernity in the Cinemas of Taiwan and Mainland China. Cambridge: Cambridge UP, 2002, 157-72. [focus on Raise the Red Lantern]

Luo, Xueying. "The Ambitions of Zhang Yimou." Chinese Literature 4 (1990): 168-176.

Ma Junxiang. "Cong Hong gaoliang dao Judou" (From Red Sorghum to Judou). Ershiyi shiji 7 (Oct. 1991): 123-32.

Metzger, Sean. "Farewell My Fantasy." Journal of Homosexuality 39.3-4 (2000): 213-232.  Also in Andrew Grossman, ed., Queer Asian Cinema, ed. NY: Haworth Press, 2000.

-----. "Ice Queens, Rice Queens, and Intercultural Investments in Zhang Yimou's Turandot." Asian Theatre Journal 20, 2 (Fall 2003): 109-17.

Mu, Aili. "Imaginary Constructs as Instruments of Critical Engagement: Titanic Reference in Zhang Yimou's The Road Home." Asian Cinema 14, 2 (Fall/Winter 2003): 35-54.

Ng, Daisy Sheung-Yuen. "When the Woman Looks: Female Desire in Three Chinese Films Directed by Zhang Yimou.” Papers on Chinese Literature 2 (Aut. 1994): 63-86.

Not One Less (official Sony website)

Rayns, Tony. "Propositions and Questions Relating To an Instinctively Rebellious Filmmaker With Chinese Characteristics." Cinemaya 30 (1995). [reprinted here on the AsianFilms.org site]

Reynaud, Berenice. "China: On the Set with Zhang Yimou." Sight and Sound (July 1991): 26-28.

The Road Home (official Sony website).

Shao, Mujun. "Notes on Red Sorghum." Chinese Literature 1 (1989): 172-80.

Spence, Jonathan. "Unjust Desserts: The Story of Qiu Ju." The New York Review of Books (June 24, 1993).

Stone, Alan. "Comedy and Culture: A Review of The Story of Qiu Ju" The Boston Review 18, 5 (Oct/Nov. 1993).

Sutton, Donald S. "Ritual, History, and the Films of Zhang Yimou." East-West Film Journal 8, 2 (1994): 31-46.

Tam, Kwok-kan and Wimal Dissanayake. "Zhang Yimou: Dramas of Desire and the Power of the Image." New Chinese Cinema. Oxford: Oxford University Press, 1998.

Tessier, Max. "Farewell to My Concubine: Art Over Politics." Cinemaya 20 (1993): 16-18.

Wang, Rujie. "To Live Beyond Good and Evil." Asian Cinema 12, 1 (Spring/Summer): 74-90.

Wang, Valerie. "Not One Less, Zhang Yimou." [film review]. Cinemaya 45 (Autumn 1999): 4-7.

Wang Yichuan. Zhang Yimou shenhua de zhongjie: Shenmei yu wenhua shiye de Zhang Yimou dianying (Zhang Yimou, myth's final stage: Zhang Yimou's films from an aesthetic and cultural perspective). Zhengzhou: Henan renmin, 1998.

Wang, Yiyan. "The Emperor and the Assassin: China's National Hero and Myth of State Origin." Media Asia 34, 1 (2007): 14-19.

Wang, Yuejin. "Mixing Memory and Desire: Red Sorghum, a Chinese Version of Masculinity and Feminity." Public Culture 2, 1 (Fall 1989):31-53. Reprinted in Berry ed., Perspectives on Chinese Film. London: British Film Institute, 1991. 62-79.

Wei, Yanmei. "Music and Femininity in Zhang Yimou's Family Melodrama." CineAction (Feb. 1997): 15-17.

Wu, Cynthia. "Interview Hou Yong: Zhang Yimou's Cinematographer." Off Screen (March 31, 1999).

Xu, Gang. "The Pedagogical as the Political: Ideology of Globalization and Zhang Yimou’s Not One Less." The Communication Review 6, 4 (2003).

Yang, Mayfair. "Of Gender, State Censorship, and Overseas Capital: An Interview with Chinese Director Zhang Yimou." Public Culture 5 (1993): 297-313.

Ye, Tan. "From the Fifth to the Sixth Generation: An Interview with Zhang Yimou." Film Quarterly (Winter 1999).

Young, Suzie Sau-Fong. "The Voice of Feminine Madness in Zhang Yimou's Da Hong Deng Long Gao Gao Gua (Raise the Red Lantern)." Asian Cinema 7, 1 (1995): 12-23.

Yue, Mingbao. "Visual Agency and Ideological Fantasy in Three Films by Zhang Yimou." In Dissanayake, ed., Narratives of Agency: Self-Making in China, India, and Japan. Minneapolis: University of Minnesota Press, 1996, 56-73.

Zaccarini, Christina. "Using Zhang Yimou's Happy Times as a Path Toward Cross Cultural Understanding." Education About Asia (Winter 2004): 60-65.

Zhang, Jiaxuan. "Red Sorghum" [review]. Film Quarterly 42, 3 (Spring 1989): 41-43.

Zhang, Xiaoling. "A Film Director's Criticism of Reform China: A Close Reading of Zhang Yimou's Not One Less." China Information 15, 2 (2001): 131-39.

Zhang, Xudong. "Ideology and Utopia in Zhang Yimou's Red Sorghum." In Zhang, Chinese Modernism in the Era of Reforms. Durham: Duke UP, 1997, 306-28.

Zhang, Yingjin. "Ideology of the Body in Red Sorghum: National Allegory, National Roots, and Third Cinema." East-West Film Journal 4, 2 (June 1989): 38-53.

-----. "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. [deals primarily with Zhang Yimou's films]

Zhengxing, Faye. "The Point of View in Shanghai Triad." Asian Cinema 9, 2 (Spring 1998): 16-28.

Zhong Chenxiang. "Hong gaoliang: xinde dianying gaibian guannian" (Red Sorghum: New concepts in film adaptation). Wenxue pinglun 4 (1988):44-50.

Zhou, Chuanji. "Zhang Yimou, Master of Film Language." Cinemaya 30 (1995). [reprinted here on AsianFilms.org website]

Zhou Youzhao. "Zhang Yimou tan Hong Gaoliang" Daxibei dianying 6 (April 1988):11-14.

Zhang Yimou Website (created by Fabian Ziesing)

Barme, Geremie. In the Red: On Contemporary Chinese Culture. NY: Columbia UP, 1999, 189-97.

Berry, Chris. "Zhang Yuan: Thriving in the Face of Adversity." Cineyama 32 (1996): 40-43.

-----. "Staging Gay Life in China: Zhang Yuan and East Palace, West Palace." Jump Cut 41 (1998).

-----. "From Underground to Mainstream, Seventeen Years." Cinemaya 46 (Winter 1999): 14-15.

Berry, Michael. "Zhang Yuan: Working up a Sweat in a Celluloid Sauna." [Interview]. In Berry, ed., Speaking in Images: Interviews with Contemporary Chinese Filmmakers. NY: Columbia UP, 2005, 142-61.

Doraiswamy, Rashmi. "Zhang Yuan: Forms Without Borders." Cinemaya 46 (Winter 1999): 11-13/

Eckholm, Erik. " Feted Abroad, and No Longer Banned in Beijing." New York Times (Dec. 26, 1999).

Gaskell, Katia. "To Get Reality, Forget Reality: China's Bad-Boy Filmmaker Zhang Yuan." Beijing Scene 7, 5 (Feb. 18-24, 2000).

Jones, Andrew F. "Beijing Bastards." SPIN Magazine 8, 7 (1992).

Khoo, Olivia. "Seventeen Years--a review." Intersections 4 (Sept. 2000).

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.]

Kuoshu, Harry H. "Beijing Bastard, The Sixth Generation Directors, and 'Generation-X' in China." Asian Cinema 10, 2 (Spring/Summer 1999): 18-28.

Lim, Song Hwee. "The Uses of Femininity: Chen Kaige's Farewell My Concubine and Zhang Yuan's East Palace, West Palace." In Lim, Celluloid Comrades: Representations of Male Homosexuality in Contemp