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Chinese Cinemas: International Perspectives examines the impact the
rapid expansion of Chinese filmmaking in mainland China has had on
independent and popular Chinese cinemas both in and outside of
China. While the large Chinese markets are coveted by Hollywood,
the commercial film industry within the People's Republic of China
has undergone rapid expansion since the 1990s. Its own production,
distribution and exhibition capacities have increased exponentially
in the past 20 years, producing box-office success both
domestically and abroad. This volume gathers the work of a range of
established scholars and newer voices on Chinese cinemas to address
questions that interrogate both Chinese films and the place and
space of Chinese cinemas within the contemporary global film
industries, including the impact on independent filmmaking both
within and outside of China; the place of Chinese cinemas produced
outside of China; and the significance of new internal and external
distribution and exhibition patterns on recent conceptions of
Chinese cinemas. This is an ideal book for students and researchers
interested in Chinese and Asian Cinema, as well as for students
studying topics such as World Cinema and Asian Studies.
Examines the work of women in East Asian Cinema in front of and
behind the screen Highlights understudied areas on women's
contributions to film East Asian film in particular Highlights
importance of re-historicising women's creative labour in film, not
just as actors on screen Recentres women's film history into film
history more broadly Creates opportunities for dialogue amongst
established and emerging scholars working in different areas of
East Asian film studies Women in East Asian Cinema brings together
new and emerging work to highlight and explore the understudied
contributions of women to the films and creative industries of East
Asia. It is a book which foregrounds the importance of
re-historicising women's creative labour in film, not just as
actors on screen, but as voices who have steered the production,
circulation and consumption of these films across global contexts.
Over three sections, the book provides perspectives on gender
representation in East and South-East Asian cinema; new
explorations of women's labour contributions as directors,
screenwriters, and editors; and considerations of the contemporary
circulation processes through which such work reaches global
audiences. By recentring women's film histories within the broader
history of cinema and interrogating the geo-political boundaries of
what might constitute 'East Asia' in the process, this volume makes
a robust intervention into studies of East Asian cinema and women
in film.
Chinese Cinemas: International Perspectives examines the impact the
rapid expansion of Chinese filmmaking in mainland China has had on
independent and popular Chinese cinemas both in and outside of
China. While the large Chinese markets are coveted by Hollywood,
the commercial film industry within the People's Republic of China
has undergone rapid expansion since the 1990s. Its own production,
distribution and exhibition capacities have increased exponentially
in the past 20 years, producing box-office success both
domestically and abroad. This volume gathers the work of a range of
established scholars and newer voices on Chinese cinemas to address
questions that interrogate both Chinese films and the place and
space of Chinese cinemas within the contemporary global film
industries, including the impact on independent filmmaking both
within and outside of China; the place of Chinese cinemas produced
outside of China; and the significance of new internal and external
distribution and exhibition patterns on recent conceptions of
Chinese cinemas. This is an ideal book for students and researchers
interested in Chinese and Asian Cinema, as well as for students
studying topics such as World Cinema and Asian Studies.
This book is available as open access through the Bloomsbury Open
programme and is available on www.bloomsburycollections.com. It is
funded by the University of Manchester. Films are produced,
reviewed and watched worldwide, often circulating between cultural
contexts. The book explores cosmopolitanism and its debates through
the lens of East Asian cinemas from Hong Kong, China, Malaysia and
Singapore, throwing doubt on the validity of national cinemas or
definitive cultural boundaries. Case studies illuminate the
ambiguously gendered star persona of Taiwanese-Hong Kong actress
Brigitte Lin, the fictional realism of director Jia Zhangke, the
arcane process of selection for the Best Foreign Film Oscar and the
intimate connection between cinema and identity in Hirokazu Koreeda
s Afterlife (1998). Considering films, their audiences and
tastemaking institutions, the book argues that cosmopolitan cinema
does not smooth over difference, but rather puts it on display."
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