This volume features new work on cinema in early twentieth-century Hong Kong, Taiwan, and Republican China. Looking beyond relatively well-studied cities like Shanghai, these essays foreground cinema’s relationship with imperialism and colonialism and emphasize the rapid development of cinema as a sociocultural institution. These essays examine where films were screened; how cinema-going as a social activity adapted from and integrated with existing social norms and practices; the extent to which Cantonese opera and other regional performance traditions were models for the development of cinematic conventions; the role foreign films played in the development of cinema as an industry in the Republican era; and much more.

A pathbreaking collection of essays on early Chinese-language cinema

This volume establishes cinema as a vital force in Shanghai culture, focusing on early Chinese cinema. It surveys the history and historiography of Chinese cinema and examines the development of the various aspects affecting the film culture.

The local self-government movement in China began in the late Qing, and by the Revolution of 1911 no less than five thousand self-government councils had formed around the country. While the idea of a federated state was cherished by early revolutionaries, a growing conflict between federalist and centralist leaders culminated in the defeat of federalism in the mid-1920s. The story of this movement has since remained hidden behind Nationalist and Communist accounts of the early revolutionary struggle. This study of Chen Jiongming's political career reopens the record on federalist efforts, focusing on Chen's policies and administrative achievements in Fujian and Guangdong. It describes Chen's role in the tumultuous politics of southern China from 1909 until his death in 1933, including his relationship and notorious break with Sun Yat-sen, the leader of the centralist revolutionaries. Leslie Chen argues that his father's attempts to create a democratic, federalist system in Guangdong were aimed at providing a model for China as a whole. His account is lively and readable; it gives an intimate, yet historically accurate, account of Chen Jiongming's considerable role in early twentieth-century Chinese history. Leslie Chen was born in Guangdong, China. In 1988 he compiled "A Collection of Historiographic Materials for a Biography of Chen Chiung-ming [Jiongming], 1878-1933." He has published two Chinese-language biographies of Chen Jiongming.

Honourable Mention, Best Monograph Award, BAFTSS Publication Awards 2022 Sheldon Lu's wide-ranging new book investigates how filmmakers and visual artists from mainland China, Hong Kong and Taiwan have envisioned China as it transitions from a socialist to a globalized capitalist state. It examines how the modern nation has been refashioned and re-imagined in order to keep pace with globalization and transnationalism. At the heart of Lu's analysis is a double movement in the relationship between nation and transnationalism in the Chinese post-socialist state. He considers the complexity of how the Chinese economy is integrated in the global capitalist system while also remaining a repressive body politic with mechanisms of control and surveillance. He explores the interrelations of the local, the national, the subnational, and the global as China repositions itself in the world. Lu considers examples from feature and documentary film, mainstream and marginal cinema, and a variety of visual arts: photography, painting, digital video, architecture, and installation. His close case studies include representations of class, masculinity and sexuality in contemporary Taiwanese and Chinese cinema; the figure of the sex worker as a symbol of modernity and mobility; and artists' representations of Beijing at the time of the 2008 Olympics.

The Encyclopedia of Chinese Film, one of the first ever encyclopedias in this area, provides alphabetically organized entries on directors, genres, themes, and actors and actresses from mainland China, Hong Kong and Taiwan as well as 300 film synopses. Great care has been taken to provide solid cultural and historical context to the facts. The alphabetical entries are preceded by a substantial historical section, incorporating material on the the main studios and analysing the impact of Chinese film abroad as well as at home in recent years. This Encyclopedia meets the needs, equally, of * the film studies scholar * the student of Chinese culture * the specialist in Chinese film * the curious viewer wanting to know more. Additional features include: * comprehensive cross-references and suggestions for further reading * a list of relevant websites * a chronology of films and a classified contents list * three indexes - (one of film and tv titles with directors names and year of release, one of names including actors, writers, directors and producers and one of studios, all with pinyin romanizations) * a glossary of pinyin romanizations, Chinese characters and English equivalents to aid the specialist in moving between Chinese titles and English translations.

Examining Hong Kong cinema from its inception in 1913 to the end of the colonial era, this work explains the key areas of production, market, film products and critical traditions. Hong Kong Cinema considers the different political formations of Hong Kong's culture as seen through the cinema, and deals with the historical, political, economic and cultural relations between Hong Kong cinema and other Chinese film industries on the mainland, as well as in Taiwan and South-East Asia. Discussion covers the concept of 'national cinema' in the context of Hong Kong's status as a quasi-nation with strong links to both the 'motherland' (China) and the 'coloniser' (Britain), and also argues that Hong Kong cinema is a national cinema only in an incomplete and ambiguous sense.