Front Matter
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Table of Contents
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List of Illustrations
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Preface
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Historical Introduction: Chinese Cinemas (1896–1996) and Transnational Film Studies
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Anti-Imperialism and Film Censorship During the Nanjing Decade, 1927–1937
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Two Stage Sisters:: The Blossoming of a Revolutionary Aesthetic
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From “Minority Film” to “Minority Discourse”:: Questions of Nationhood and Ethnicity in Chinese Cinema
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National Cinema, Cultural Critique, Transnational Capital:: The Films of Zhang Yimou
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Constructing a Nation:: Taiwanese History and the Films of Hou Hsiao-hsien
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The Diaspora in Postmodern Taiwan and Hong Kong Film:: Framing Stan Lai’s The Peach Blossom Land with Allen Fong’s Ah Ying
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Breaking the Soy Sauce Jar:: Diaspora and Displacement in the Films of Ang Lee
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Transnational Action:: John Woo, Hong Kong, Hollywood
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Jackie Chan and the Cultural Dynamics of Global Entertainment
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Reading Formations and Chen Kaige’s Farewell My Concubine
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The New Woman Incident:: Cinema, Scandal, and Spectacle in 1935 Shanghai
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Gendered Perspective:: The Construction and Representation of Subjectivity and Sexuality in Ju Dou
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The Concubine and the Figure of History:: Chen Kaige’s Farewell My Concubine
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Narrative Images of the Historical Passion:: Those Other Women—On the Alterity in the New Wave of Chinese Cinema
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Chinese Glossary
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Filmography
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Bibliography
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Notes on Contributors
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Index
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