What does it mean for a cinematic work to be "Chinese"? Does it refer specifically to a work's subject, or does it also reflect considerations of language, ethnicity, nationality, ideology, or political orientation? Such questions make any single approach to a vast field like "Chinese cinema" difficult at best. Accordingly, The Oxford Handbook of Chinese Cinemas situates the term more broadly among various different phases, genres, and distinct national configurations, while taking care to address the consequences of grouping together so many disparate histories under a single banner. Offering both a platform for cross-disciplinary dialogue and a mapping of Chinese cinema as an expanded field, this Handbook presents thirty-three essays by leading researchers and scholars intent on yielding new insights and new analyses using three different methodologies. Chapters in Part I investigate the historical periodizations of the field through changing notions of national and political identity -- all the way from the industry's beginnings in the 1920s up to its current forms in contemporary Hong Kong, Taiwan, and the global diaspora. Chapters in Part II feature studies centered on the field's taxonomical formalities, including such topics as the role of the Chinese opera in technological innovation, the political logic of the "Maoist film," and the psychoanalytic formula of the kung fu action film. Finally, in Part III, focus is given to the structural elements that comprise a work's production, distribution, and reception to reveal the broader cinematic apparatuses within which these works are positioned. Taken together, the multipronged approach supports a wider platform beyond the geopolitical and linguistic limitations in existing scholarship. Expertly edited to illustrate a representative set of up to date topics and approaches, The Oxford Handbook of Chinese Cinemas provides a vital addition to a burgeoning field still in its formative stages.

What does it mean for a cinematic work to be "Chinese"? Does it refer specifically to a work's subject, or does it also reflect considerations of language, ethnicity, nationality, ideology, or political orientation? Such questions make any single approach to a vast field like "Chinese cinema" difficult at best. Accordingly, The Oxford Handbook of Chinese Cinemas situates the term more broadly among various different phases, genres, and distinct national configurations, while taking care to address the consequences of grouping together so many disparate histories under a single banner. Offering both a platform for cross-disciplinary dialogue and a mapping of Chinese cinema as an expanded field, this Handbook presents thirty-three essays by leading researchers and scholars intent on yielding new insights and new analyses using three different methodologies. Chapters in Part I investigate the historical periodizations of the field through changing notions of national and political identity — all the way from the industry's beginnings in the 1920s up to its current forms in contemporary Hong Kong, Taiwan, and the global diaspora. Chapters in Part II feature studies centered on the field's taxonomical formalities, including such topics as the role of the Chinese opera in technological innovation, the political logic of the "Maoist film," and the psychoanalytic formula of the kung fu action film. Finally, in Part III, focus is given to the structural elements that comprise a work's production, distribution, and reception to reveal the broader cinematic apparatuses within which these works are positioned. Taken together, the multipronged approach supports a wider platform beyond the geopolitical and linguistic limitations in existing scholarship. Expertly edited to illustrate a representative set of up to date topics and approaches, The Oxford Handbook of Chinese Cinemas provides a vital addition to a burgeoning field still in its formative stages.

This book provides a multifaceted single-volume account of Japanese cinema. It addresses productive debates about what Japanese cinema is, where Japanese cinema is, as well as what and where Japanese cinema studies is, at the so-called period of crisis of national boundary under globalization and the so-called period of crisis of cinema under digitalization.

With over forty original essays, The Oxford Handbook of Modern Chinese Literatures offers an in-depth engagement with the current analytical methodologies and critical practices that are shaping the field in the twenty-first century. Divided into three sections--Structure, Taxonomy, and Methodology--the volume carefully moves across approaches, genres, and forms to address a rich range topics that include popular culture in Late Qing China, Zhang Guangyu's Journey to the West in Cartoons, writings of Southeast Asian migrants in Taiwan, the Chinese Anglophone Novel, and depictions of HIV/AIDS in Chu T'ien-wen's Notes of a Desolate Man.

This revised and updated new edition provides a comprehensive introduction to the history of cinema in mainland China, Hong Kong and Taiwan, as well as to disaporic and transnational Chinese film-making, from the beginnings of cinema to the present day. Chapters by leading international scholars are grouped in thematic sections addressing key historical periods, film movements, genres, stars and auteurs, and the industrial and technological contexts of cinema in Greater China.

Critics frequently describe the influence of "America," through Hollywood and other cultural industries, as a form of cultural imperialism. This unidirectional model of interaction does not address, however, the counter-flows of Chinese-language films into the American film market or the influence of Chinese filmmakers, film stars, and aesthetics in Hollywood. The aim of this collection is to (re)consider the complex dynamics of transnational cultural flows between American and Chinese-language film industries. The goal is to bring a more historical perspective to the subject, focusing as much on the Hollywood influence on early Shanghai or postwar Hong Kong films as on the intensifying flows between American and Chinese-language cinemas in recent decades. Contributors emphasize the processes of appropriation and reception involved in transnational cultural practices, examining film production, distribution, and reception.

The Routledge Handbook of Chinese Culture and Society is an interdisciplinary resource that offers a comprehensive overview of contemporary Chinese social and cultural issues in the twenty-first century. Bringing together experts in their respective fields, this cutting-edge survey of the significant phenomena and directions in China today covers a range of issues including the following: State, privatisation and civil society Family and education Urban and rural life Gender, and sexuality and reproduction Popular culture and the media Religion and ethnicity Forming an accessible and fascinating insight into Chinese culture and society, this handbook will be invaluable to students and scholars across a range of disciplines, including anthropology, sociology, area studies, history, politics and cultural and media studies.