China Studies: History of Chinese Cinema

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The significance of cinema derives from the multidimensional culture, historical imagination of the public sphere, and the social spaces by which it is expressed, explored, and reflected. On this basis, establishing an approach to the study of film as a historically determined social act reveals the big-picture thinking and generalization of film studies to the development of cinema. This approach to research or observation that places the films in historical backgrounds and various contexts is a perspective or a vantage point from which to analyze a specific phenomenon. The ever-changing global context and its social space have considerably altered the constitution of cinema's modes of meaning. The cinematic movement in the broadest sense, together with its historical thinking and specific observations, is thus integrated into the network that constitutes cinematic subjects and symbolic identities. As a representation of a socially constructed mechanism, the development of the cinematic movement from the historical perspective has a far more constructive and revolutionary significance and value than it appears to be.

About Author
Ding Yaping, a distinguished professor at Beijing Film Academy, professor at Communication University of China, research fellow at Chinese National Academy of Arts, chairman of the Chinese Collegial Association for Visual Art, and vice-chairman of the China Film Critics Association. He is an awardee of the National Special Support Program for High-Level Personnel Recruitment, the winner of Projects of Eminent Cultural Figures awarded by the Publicity Department of the CPC Central Committee, and an Outstanding Expert awarded by the Ministry of Culture and Tourism. He is a winner of the special government allowances of the State Council and a member of the China Film Association Council. His major fields of research include historiophoty, film review, and art theory He has published more than 20 academic monographs, such as Art as Culture, The Art of Chinese Cinema: 1945-1949, The History of Contemporary Chinese Cinema, and General History of Chinese Film. He has obtained and completed three major programs approved by the National Social Science Fund of China as chief expert. He also serves as a member of Editorial Board and editor-in-chief for Film & Television Studies of the Encyclopedia of China (3rd ed.).
Table of Contents

Chapter One Early Chinese Cinema 1905-1932
Section One The Dream of Popular Films
Section Two The Start of Narrative: Touching Film Images
Section Three Film Images and Consciousness Abound
Section Four Bright Film Dreams

Chapter Two Nationality, Revolution, and Popularity: The Rise of Chinese Cinema 1932-1937
Section One Perseverance in Filmmaking
Section Two Cinema as Carrier of Social Responsibilities
Section Three Overlapping Marks
Section Four Imaginative Intervention

Chapter Three From "Orphan Island" to the Rear Areas 1937-1945
Section One Impact of the Times
Section Two Personal Experiences and Asian Paranoia
Section Three Cinema and Beyond

Chapter Four Chinese Cinema: From Postwar to Revolution 1945-1949
Section One Dialectics of Film and Conscience
Section Two Pursuing the Shared Spirit of Cinema
Section Three Enhancement of Film Quality
Section Four Alignment and Variation Between Subject and World

Chapter Five A New Journey: Torturous Development 1949-1976
Section One Cinema: A Complete Discourse of the New World
Section Two Subject-Object Interpenetration
Section Three A Clear and Well-defined Theme
Section Four Cinema: To Live or to Die

Chapter Six Displacement and Narrative 1977-1989
Chapter Seven Art and Market 1990-1999
Chapter Eight Cinema, Politics, and Individuality 2000-2007
Chapter Nine Reproduction and Construction of Chinese Cinema 2007-2010
Chapter Ten Blockbusters and Their Significance 2011-2021

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China Studies: History of Chinese Cinema