This book offers an interdisciplinary, historically grounded study of Asian cinemas' complex responses to the Cold War conflict. It situates the global ideological rivalry within regional and local political, social, and cultural processes, while offering a transnational and cross-regional focus. This volume makes a major contribution to constructing a cultural and popular cinema history of the global Cold War. Its geographical focus is set on East Asia, Southeast Asia, and South Asia. In adopting such an inclusive approach, it draws attention to the different manifestations and meanings of the connections between the Cold War and cinema across Asian borders. Many essays in the volume have a transnational and cross-regional focus, one that sheds light on Cold War-influenced networks (such as the circulation of socialist films across communist countries) and on the efforts of American agencies (such as the United States Information Service and the Asia Foundation) to establish a transregional infrastructure of "free cinema" to contain the communist influences in Asia. With its interdisciplinary orientation and broad geographical focus, the book will appeal to scholars and students from a wide variety of fields, including film studies, history (especially the burgeoning field of cultural Cold War studies), Asian studies, and US-Asian cultural relations.

This book offers an interdisciplinary, historically grounded study of Asian cinemas' complex responses to the Cold War conflict. It situates the global ideological rivalry within regional and local political, social, and cultural processes, while offering a transnational and cross-regional focus. This volume makes a major contribution to constructing a cultural and popular cinema history of the global Cold War. Its geographical focus is set on East Asia, Southeast Asia, and South Asia. In adopting such an inclusive approach, it draws attention to the different manifestations and meanings of the connections between the Cold War and cinema across Asian borders. Many essays in the volume have a transnational and cross-regional focus, one that sheds light on Cold War-influenced networks (such as the circulation of socialist films across communist countries) and on the efforts of American agencies (such as the United States Information Service and the Asia Foundation) to establish a transregional infrastructure of "free cinema" to contain the communist influences in Asia. With its interdisciplinary orientation and broad geographical focus, the book will appeal to scholars and students from a wide variety of fields, including film studies, history (especially the burgeoning field of cultural Cold War studies), Asian studies, and US-Asian cultural relations.

Based on meticulous archival research and a repetorary of rare films, most of which were believed lost, this book is a pioneering critical study of the Chinese cinemas in Hong Kong and Shanghai and their complex interconnections. The years 1935-50 were a period of ceaseless violence in China, of war, occupation, civil war, and colonialism, leading to mass displacements of millions of people and extreme poverty. Both the cinema and the broader popular culture of this period have been little studied, partly because access to research materials is so difficult, partly because of the political problems involved (most films produced during the war have been considered pro-Japanese and their makers traitors). This study brings to light the humanity of the filmmakers, writers, and business people; the many facets of the historical situation in which they worked; and the complex politics of the films they made. This is also an original and important study of the regional networks, diasporic connections, and border-crossing movement of goods, capital, and people that drew Hong Kong and Shanghai together in an intercity nexus that sustained the survival and even flourishing of popular cinema during this tumultuous period.

Focusing on the responses of writers in Shanghai to the Japanese occupation, this book corrects the postwar conception of occupied China as a field of conflict between selfless resisters and shameless collaborators by showing a complexity and ambiguity of moral choices that defies such stereotyping.

The Cinema of Hong Kong examines one of the most popular and dynamic cinema traditions in the history of film. Providing an overview of major directors, genres and stars, from its origins to the present, this volume examines Hong Kong cinema in transnational, historical, and artistic contexts. Individual essays focus on Hong Kong cinema before and during World War II; the cinema of the turbulent 1960s; its rise to world prominence in the 1970s and its reception in the United States, and the revival of Cantonese cinema, among other topics.

Based on meticulous archival research and a repetorary of rare films, most of which were believed lost, this book is a pioneering critical study of the Chinese cinemas in Hong Kong and Shanghai and their complex interconnections. The years 1935-50 were a period of ceaseless violence in China, of war, occupation, civil war, and colonialism, leading to mass displacements of millions of people and extreme poverty. Both the cinema and the broader popular culture of this period have been little studied, partly because access to research materials is so difficult, partly because of the political problems involved (most films produced during the war have been considered pro-Japanese and their makers traitors). This study brings to light the humanity of the filmmakers, writers, and business people; the many facets of the historical situation in which they worked; and the complex politics of the films they made. This is also an original and important study of the regional networks, diasporic connections, and border-crossing movement of goods, capital, and people that drew Hong Kong and Shanghai together in an intercity nexus that sustained the survival and even flourishing of popular cinema during this tumultuous period.

Focusing on the responses of writers in Shanghai to the Japanese occupation, this book corrects the postwar conception of occupied China as a field of conflict between selfless resisters and shameless collaborators by showing a complexity and ambiguity of moral choices that defies such stereotyping.

The Cinema of Hong Kong examines one of the most popular and dynamic cinema traditions in the history of film. Providing an overview of major directors, genres and stars, from its origins to the present, this volume examines Hong Kong cinema in transnational, historical, and artistic contexts. Individual essays focus on Hong Kong cinema before and during World War II; the cinema of the turbulent 1960s; its rise to world prominence in the 1970s and its reception in the United States, and the revival of Cantonese cinema, among other topics.

The founding of the university in 1867 created a unique community in what had been a prairie. Within a few years, this creative mix of teachers and scholars produced innovations in agriculture, engineering and the arts that challenged old ideas and stimulated dynamic new industries. Projects ranging from the Mosaic web browser to the discovery of Archaea and pioneering triumphs in women's education and wheelchair accessibility have helped shape the university's mission into a double helix of innovation and real-world change. These essays explore the university's celebrated accomplishments and historic legacy, candidly assessing both its successes and its setbacks. Experts and students tell the eye-opening stories of campus legends and overlooked game-changers, of astonishing technical and social invention, of incubators of progress as diverse as the Beckman Institute and Ebertfest. Contributors: James R. Barrett, George O. Batzli, Claire Benjamin, Jeffrey D. Brawn, Jimena Canales, Stephanie A. Dick, Poshek Fu, Marcelo H. Garcia, Lillian Hoddeson, Harry Liebersohn, Claudia Lutz, Kathleen Mapes, Vicki McKinney, Elisa Miller, Robert Michael Morrissey, Bryan E. Norwood, Elizabeth H. Pleck, Leslie J. Reagan, Susan M. Rigdon, David Rosenboom, Katherine Skwarczek, Winton U. Solberg, Carol Spindel, William F. Tracy, and Joy Ann Williamson-Lott.