Chinese Film Classics 1922 1949

Winner, 2023 Choice Outstanding Academic Title Chinese Film Classics, 1922–1949 is an essential guide to the first golden age of Chinese cinema. Offering detailed introductions to fourteen films, this study highlights the creative achievements of Chinese filmmakers in the decades leading up to 1949, when the Communists won the civil war and began nationalizing cultural industries. Christopher Rea reveals the uniqueness and complexity of Republican China’s cinematic masterworks, from the comedies and melodramas of the silent era to the talkies and musicals of the 1930s and 1940s. Each chapter appraises the artistry of a single film, highlighting its outstanding formal elements, from cinematography to editing to sound design. Examples include the slapstick gags of Laborer’s Love (1922), Ruan Lingyu’s star turn in Goddess (1934), Zhou Xuan’s mesmerizing performance in Street Angels (1937), Eileen Chang’s urbane comedy of manners Long Live the Missus! (1947), the wartime epic Spring River Flows East (1947), and Fei Mu’s acclaimed work of cinematic lyricism, Spring in a Small Town (1948). Rea shares new insights and archival discoveries about famous films, while explaining their significance in relation to politics, society, and global cinema. Lavishly illustrated and featuring extensive guides to further viewings and readings, Chinese Film Classics, 1922–1949 offers an accessible tour of China’s early contributions to the cinematic arts.

The Age of Irreverence tells the story of why China’s entry into the modern age was not just traumatic, but uproarious. As the Qing dynasty slumped toward extinction, prominent writers compiled jokes into collections they called "histories of laughter." In the first years of the Republic, novelists, essayists and illustrators alike used humorous allegories to make veiled critiques of the new government. But, again and again, political and cultural discussion erupted into invective, as critics gleefully jeered and derided rivals in public. Farceurs drew followings in the popular press, promoting a culture of practical joking and buffoonery. Eventually, these various expressions of hilarity proved so offensive to high-brow writers that they launched a concerted campaign to transform the tone of public discourse, hoping to displace the old forms of mirth with a new one they called youmo (humor). Christopher Rea argues that this period—from the 1890s to the 1930s—transformed how Chinese people thought and talked about what is funny. Focusing on five cultural expressions of laughter—jokes, play, mockery, farce, and humor—he reveals the textures of comedy that were a part of everyday life during modern China’s first "age of irreverence." This new history of laughter not only offers an unprecedented and up-close look at a neglected facet of Chinese cultural modernity, but also reveals its lasting legacy in the Chinese language of the comic today and its implications for our understanding of humor as a part of human culture.

Showcasing an exotic, eclectic, and rare array of covers from more than five hundred movie publications from a glamorous bygone age, Chinese Movie Magazines sheds fresh light on China’s film industry during a transformative period of its history. Expertly curated by collector and Chinese cinema specialist Paul Fonoroff, this volume provides insightful commentary relating the magazines to the times in which they were created, embracing everything from cinematic trends to politics and world events, along with gossip, fashion, and pop culture. The cover designs reflected the diverse contents of the publications, ranging from sophisticated Art Deco drawings by acclaimed artists to glamorous photos of top Chinese and Hollywood celebrities, including Ruan Lingyu, Butterfly Wu, Ingrid Bergman, and Shirley Temple. Organized thematically within a chronological structure, this visually extraordinary volume includes many rare illustrations from the Paul Kendel Fonoroff Collection in Berkeley’s C.V. Starr East Asian Library, the largest collection of Eastern movie memorabilia outside China.

Qian Zhongshu was one of twentieth-century China's most ingenious literary stylists, one whose insights into the ironies and travesties of modern China remain stunningly fresh. Between the early years of the Second Sino-Japanese War (1937-1945) and the Communist takeover in 1949, Qian wrote a brilliant series of short stories, essays, and a comedic novel that continue to inspire generations of Chinese readers. With this long-awaited translation, English-language readers can immerse themselves in the invention and satirical wit of one of the world's great literary cosmopolitans. This collection brings together Qian's best short works, combining his iconoclastic essays on the "book of life" from Written in the Margins of Life (1941) with the four masterful short stories of Human, Beast, Ghost (1946). His essays elucidate substantive issues through deceptively simple subjects-the significance of windows versus doors, for example, or the blind spots of literary critics and assert the primacy of critical and creative independence. His stories blur the boundaries between humans, beasts, and ghosts as they struggle through life, death, and resurrection. Christopher G. Rea situates these works within China's wartime politics and Qian's literary vision, highlighting significant changes that Qian Zhongshu made to different editions of his writings and providing unprecedented insight into the author's creative process.

From the late nineteenth- to the mid-twentieth century, changing technologies and growing transregional ties provided unprecedented opportunities for the entrepreneurially minded in China and Southeast Asia. The Business of Culture examines the rise of Chinese “cultural entrepreneurs,” businesspeople who risked financial well-being and reputation by investing in multiple cultural enterprises in the late nineteenth and twentieth centuries. Rich in biographical detail, the interlinked case studies featured in this volume introduce three distinct archetypes: the cultural personality, the tycoon, and the collective enterprise. These portraits reveal how changes in social and economic conditions created the fertile soil for business success; conditions that are similar to those emerging in China today.

In this insightful book, one of America's leading commentators on culture and society turns his gaze upon cinematic race relations, examining the relationship between film, race and culture. Acute, richly illustrated and timely, the book deepens our understanding of the politics of race and the symbolic complexity of segregation and discrimination.

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.

German Culture through Film: An Introduction to German Cinema is an English-language text that serves equally well in courses on modern German film, in courses on general film studies, in courses that incorporate film as a way to study culture, and as an engaging resource for scholars, students, and devotees of cinema and film history. In its second edition, German Culture through Film expands on the first edition, providing additional chapters with context for understanding the era in which the featured films were produced. Thirty-three notable German films are arranged in seven chronological chapters, spanning key moments in German film history, from the silent era to the present. Each chapter begins with an introduction that focuses on the history and culture surrounding films of the relevant period. Sections within chapters are each devoted to one particular film, providing film credits, a summary of the story, background information, an evaluation, questions and activities to encourage diverse interpretations, a list of related films, and bibliographical information on the films discussed.

A classic on the aesthetics of filmmaking from the pioneering Soviet director who made Battleship Potemkin. Though he completed only a half-dozen films, Sergei Eisenstein remains one of the great names in filmmaking, and is also renowned for his theory and analysis of the medium. Film Form collects twelve essays, written between 1928 and 1945, that demonstrate key points in the development of Eisenstein’s film theory and in particular his analysis of the sound-film medium. Edited, translated, and with an introduction by Jay Leyda, this volume allows modern-day film students and fans to gain insights from the man who produced classics such as Alexander Nevsky and Ivan the Terrible and created the renowned “Odessa Steps” sequence.

Story of cinema -- How movies are made -- Movie genres -- World cinema -- A-Z directors -- Must-see movies.