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.

A Companion to Chinese Cinema is a collection of original essays written by experts in a range of disciplines that provide a comprehensive overview of the evolution and current state of Chinese cinema. Represents the most comprehensive coverage of Chinese cinema to date Applies a multidisciplinary approach that maps the expanding field of Chinese cinema in bold and definitive ways Draws attention to previously neglected areas such as diasporic filmmaking, independent documentary, film styles and techniques, queer aesthetics, star studies, film and other arts or media Features several chapters that explore China’s new market economy, government policy, and industry practice, placing the intricate relationship between film and politics in a historical and international context Includes overviews of Chinese film studies in Chinese and English publications

Chinese National Cinema, written for students by a leading scholar, traces the formation, negotiation and problematization of the national on the Chinese screen over ninety years.

The early years of the history of Chinese film have lately been the subject of resurgent interest and a growing body of scholarship has come to recognise and identify an extraordinarily diverse and complex period. This volume explores the development of Chinese film from 1896 to 1949. The volume covers the screening of foreign films in Shanghai, Hong Kong and other coastal cities in China, the technological and industrial development of Chinese national cinema, key filmmakers and actors of early Chinese cinema, changing modes of representation and narration, as well as the social and cultural contexts within which early Chinese films were produced and circulated. The relationship between the War of Resistance against Japan and the Chinese civil war and Chinese film is also explored. The book will be essential reading for scholars and students in film studies, Chinese studies, cultural studies and media studies, helping readers develop a comprehensive understanding of Chinese film.

Ying Zhu's study examines the institutional as well as the stylistic transitions of Chinese cinema, from pedagogy to art to commerce, focusing on the key film reform measures as well as the metamorphosis of Chinese 5th generation films from art film narration.

Sinascape: Contemporary Chinese Cinema is a comprehensive study of Chinese-language films at the turn of the millennium. Emphasizing the transnational nature of contemporary Chinese cinema, it provides close readings of most of the important films of China, Taiwan, Hong Kong, and explores the interactions and transactions among these films and between Chinese cinema and Hollywood. General readers, film enthusiasts, and critics will all benefit from Gary Xu's discussion of popular films like Hero, House of Flying Daggers, Kung Fu Hustle, Devils on the Doorstep, Suzhou River, Beijing Bicycle, Millennium Mambo, Goodbye Dragon Inn, and Hollywood Hong Kong.

New Chinese Cinema: Challenging Representations examines the 'search for roots' films that emerged from China in the aftermath of the Cultural Revolution. The authors contextualise the films of the so-called Fifth Generation directors who came to prominence in the 1980s and 1990s such as Chen Kaige, Zhang Yimou and Tian Zhuangzhuang. Including close analysis of such pivotal films as Farewell My Concubine, Raise the Red Lantern and The Blue Kite, the book also examines the rise of contemporary Sixth Generation underground directors whose themes embrace the disaffection of urban youth.