A pioneering study of the Chinese cinemas in Shanghai and Hong Kong and the complex connections between them during the period of war, occupation, and civil war.

"The dramatic, real-life stories of four young people caught up in the mass exodus of Shanghai in the wake of China's 1949 Communist Revolution--a precursor to the struggles faced by emigrants today. Shanghai has historically been China's jewel, its richest, most modern and westernized city. The bustling metropolis was home to sophisticated intellectuals, entrepreneurs, and a thriving middle class when Mao's proletarian revolution emerged victorious from the long civil war. Terrified of the horrors the Communists would wreak upon their lives, citizens of Shanghai who could afford to fled in every direction. Seventy years later, the last generation to fully recall this massive exodus have opened the story to Chinese American journalist Helen Zia, who interviewed hundreds of exiles about their journey through one of the most tumultuous events of the twentieth century. From these moving accounts, Zia weaves the story of four young Shanghai residents who wrestled with the decision to abandon everything for an uncertain life as refugees in Hong Kong, Taiwan, and the U.S. Young Benny, who as a teenager became the unwilling heir to his father's dark wartime legacy, must choose between escaping Hong Kong or navigating the intricacies of a newly Communist China. The resolute Annuo, forced to flee her home with her father, a defeated Nationalist official, becomes an unwelcome young exile in Taiwan. The financially strapped Ho fights deportation in order to continue his studies in the U.S. while his family struggles at home. And Bing, given away by her poor parents, faces the prospect of a new life among strangers in America"--

"In vivid detail... examines the little-known history of two extraordinary dynasties."--The Boston Globe "Not just a brilliant, well-researched, and highly readable book about China's past, it also reveals the contingencies and ironic twists of fate in China's modern history."--LA Review of Books An epic, multigenerational story of two rival dynasties who flourished in Shanghai and Hong Kong as twentieth-century China surged into the modern era, from the Pulitzer Prize-winning journalist The Sassoons and the Kadoories stood astride Chinese business and politics for more than one hundred seventy-five years, profiting from the Opium Wars; surviving Japanese occupation; courting Chiang Kai-shek; and nearly losing everything as the Communists swept into power. Jonathan Kaufman tells the remarkable history of how these families ignited an economic boom and opened China to the world, but remained blind to the country's deep inequality and to the political turmoil on their doorsteps. In a story stretching from Baghdad to Hong Kong to Shanghai to London, Kaufman enters the lives and minds of these ambitious men and women to forge a tale of opium smuggling, family rivalry, political intrigue, and survival.

From melodrama to Cantonese opera, from silents to 3D animated film, Remaking Chinese Cinema traces cross-Pacific film remaking over the last eight decades. Through the refractive prism of Hollywood, Shanghai, and Hong Kong, Yiman Wang revolutionizes our understanding of Chinese cinema as national cinema. Against the diffusion model of national cinema spreading from a central point—Shanghai in the Chinese case—she argues for a multilocal process of co-constitution and reconstitution. In this spirit, Wang analyzes how southern Chinese cinema (huanan dianying) morphed into Hong Kong cinema through transregional and trans-national interactions that also produced a vision of Chinese cinema. Among the book’s highlights are a rereading of The Goddess—one of the best-known silent Chinese films in the West—from the perspective of its wartime Mandarin-Cantonese remake; the excavation of a hybrid genre (the Western costume Cantonese opera film) inspired by Hollywood’s fantasy films of the 1930s and produced in Hong Kong well into the mid-twentieth century; and a rumination on Hollywood’s remake of Hong Kong’s Infernal Affairs and the wholesale incorporation of “Chinese elements” in Kung Fu Panda 2. Positing a structural analogy between the utopic vision, the national cinema, and the location-specific collective subject position, the author traces their shared urge to infinitesimally approach, but never fully and finitely reach, a projected goal. This energy precipitates the ongoing processes of cross-Pacific film remaking, which constitute a crucial site for imagining and enacting (without absolving) issues of national and regional border politics. These issues unfold in relation to global formations such as colonialism, Cold War ideology, and postcolonial, postsocialist globalization. As such, Remaking Chinese Cinema contributes to the ongoing debate on (trans-)national cinema from the unique perspective of century-long border-crossing film remaking.

For the past century, all kinds of Chinese people seemed to have tried to be ?modern?. At the same time, the standards of modernity have been set elsewhere and they seem always to be higher than what has been achieved. That makes most Chinese work harder, but some may well wonder if standards rise so that China will always get a poor report card at the end of each year.The ongoing drama of Chinese people seeking to be modern has been enacted in different parts of the world. There are interesting differences among these Chinese, depending on where they have been living. The general trend, however, is unmistakable. The striving for betterment is supported by a strong capacity to adapt and change, and this is reflected in the way the Chinese seize new opportunities when they occur. The essays here describe some of these efforts both inside and outside China, and form a small mosaic of Chinese practising the art of modernising.

SHORTLISTED FOR THE 2018 WOLFSON HISTORY PRIZE The extraordinary and essential story of how China became the powerful country it is today. Even at the high noon of Europe's empires China managed to be one of the handful of countries not to succumb. Invaded, humiliated and looted, China nonetheless kept its sovereignty. Robert Bickers' major new book is the first to describe fully what has proved to be one of the modern era's most important stories: the long, often agonising process by which the Chinese had by the end of the 20th century regained control of their own country. Out of China uses a brilliant array of unusual, strange and vivid sources to recreate a now fantastically remote world: the corrupt, lurid modernity of pre-War Shanghai, the often tiny patches of 'extra-territorial' land controlled by European powers (one of which, unnoticed, had mostly toppled into a river), the entrepôts of Hong Kong and Macao, and the myriad means, through armed threats, technology and legal chicanery, by which China was kept subservient. Today Chinese nationalism stays firmly rooted in memories of its degraded past - the quest for self-sufficiency, a determination both to assert China's standing in the world and its outstanding territorial claims, and never to be vulnerable to renewed attack. History matters deeply to Beijing's current rulers - and Out of China explains why.