This anthology is a book-length study of China's ecosystem through the lens of cinema. Proposing 'ecocinema' as a new critical framework, the volume collectively investigates a wide range of urgent topics in today's world.

This book is open access and available on www.bloomsburycollections.com. It is funded by Knowledge Unlatched. This innovative collection of essays on twenty-first century Chinese cinema and moving image culture features contributions from an international community of scholars, critics, and practitioners. Taken together, their perspectives make a compelling case that the past decade has witnessed a radical transformation of conventional notions of cinema. Following China's accession to the WTO in 2001, personal and collective experiences of changing social conditions have added new dimensions to the increasingly diverse Sinophone media landscape, and provided a novel complement to the existing edifice of blockbusters, documentaries, and auteur culture. The numerous 'iGeneration' productions and practices examined in this volume include 3D and IMAX films, experimental documentaries, animation, visual aides-mémoires, and works of pirated pastiche. Together, they bear witness to the emergence of a new Chinese cinema characterized by digital and, trans-media representational strategies, the blurring of private/public distinctions, and dynamic reinterpretations of the very notion of 'cinema' itself.

This second volume builds on the initial groundwork laid by Ecocinema Theory and Practice by examining the ways in which ecocritical cinema studies have matured and proliferated over the last decade, opening whole new areas of study and research. Featuring fourteen new essays organized into three sections around the themes of cinematic materialities, discourses, and communities, the volume explores a variety of topics within ecocinema studies from examining specific national and indigenous film contexts to discussing ecojustice, environmental production studies, film festivals, and political ecology. The breadth of the contributions exemplifies how ecocinema scholars worldwide have sought to overcome the historical legacy of binary thinking and intellectual norms and are working to champion new ecocritical, intersectional, decolonial, queer, feminist, Indigenous, vitalist, and other emergent theories and cinematic practices. The collection also demonstrates the unique ways that cinema studies scholarship is actively addressing environmental injustice and the climate crisis. This book is an invaluable resource for students and scholars of ecocritical film and media studies, production studies, cultural studies, and environmental studies.

Introduction : revisiting the field of Chinese ecocinema / Haomin Gong -- Mapping Taiwanese ecodocumentary landscape : politics of aesthetics and environmental ethics in Taiwanese ecodocumentaries / Kuei-fen Chiu -- Nature in the city : a study of Hong Kong Independent Eco-Cinema and Eco-Film Festival / Winnie L. M. Yee -- Three ecologies of cinema, migration, and the sea : Anchorage prohibited and Luzon / Elizebath Wijaya -- Tracing extraction in contemporary Chinese cinema : Tie Xi Qu and the politics of the resource image / Pietari Kääpä -- Chai Jing's Under the Dome : A Multimedia Documentary in the digital age / Shuqin Cui -- Global animal capital and animal garbage : documentary redemption and hope / Chia-ju Chang -- Transcendence and transgression : reading wolf totem as environmental world literature/cinema? / Haomin Gong -- Fabulating animals-human affinity : towards an ethics of care in monster hunt and mermaid / Fiona Yuk-wa Law -- Sinification by greening : politics, nature, and ethnic borderlands in Maoist ecocinema / Cheng Li -- No man's land : cco-Western in contemporary Chinese cinema / Kun Qian

In Chinese Cinema: Identity, Power, and Globalization, a variety of scholars explore the history, aesthetics, and politics of Chinese cinema as the Chinese film industry grapples with its place as the second largest film industry in the world. Exploring the various ways that Chinese cinema engages with global politics, market forces, and film cultures, this edited volume places Chinese cinema against an array of contexts informing the contours of Chinese cinema today. The book also demonstrates that Chinese cinema in the global context is informed by the intersections and tensions found in Chinese and world politics, national and international co-productions, the local and global in representing Chineseness, and the lived experiences of social and political movements versus screened politics in Chinese film culture. This work is a pioneer investigation of the topic and will inspire future research by other scholars of film studies. “This edited volume offers a much-needed account of alternative ways of envisioning Chinese cinema in the special context of China and the world. Its vigorous theoretical framework, which puts emphasis on interactions in the context of China and the world, will complement and update publications in related areas.” —Yiu-Wai Chu, The University of Hong Kong; author of Main Melody Films: Hong Kong Directors in Mainland China “Chinese Cinema: Identity, Power, and Globalization offers a collection of studies of modern Chinese films and their global connections, with a contemporary emphasis. Its authors’ insightful analyses of films—famous, obscure, and new to the twenty-first-century screen—elucidate numerous contextual factors relevant for understanding the history and aesthetics of Chinese cinemas.” —Christopher Rea, The University of British Columbia; author of Chinese Film Classics, 1922–1949

Chinese Environmental Humanities showcases contemporary ecocritical approaches to Chinese culture and aesthetic production as practiced in China itself and beyond. As the first collaborative environmental humanities project of this kind, this book brings together sixteen scholars from a diverse range of disciplines, including literary and cultural studies, philosophy, ecocinema and ecomedia studies, religious studies, minority studies, and animal or multispecies studies. The fourteen chapters are conceptually framed through the lens of the Chinese term huanjing (environment or “encircling the surroundings”), a critical device for imagining the aesthetics and politics of place-making, or “the practice of environing at the margin.” The discourse of environing at the margins facilitates consideration of the modes, aesthetics, ethics, and politics of environmental inclusion and exclusion, providing a lens into the environmental thinking and practices of the world’s most populous society.

This edited collection explores new developments in the burgeoning field of Chinese ecocinema, examining a variety of works from local productions to global market films, spanning the Maoist era to the present. The ten chapters examine films with ecological significance in mainland China, Hong Kong, and Taiwan, including documentaries, feature films, blockbusters and independent productions. Covering not only well-known works, such as Under the Dome, Wolf Totem, Tie Xi Qu: West of the Tracts, and Mermaid, this book also provides analysis of less well-known but critically important works, such as Anchorage Prohibited, Luzon, and Three Flower/Tri-Color. The unique perspectives this book provides, along with the comprehensive engagement with existing Chinese and English scholarship, not only extend the scope of the growing field of ecocinematic studies, but also seeks to reform the means through which Chinese-language eco-films are understood in the years to come. Ecology and Chinese-Language Ecocinema will be of huge interest to students and scholars in the fields of Chinese cinema, environmental studies, media and communication studies.