Skip to Main Content
Skip Nav Destination
This content is made freely available by the publisher. It may not be redistributed or altered. All rights reserved.
This content is only available as PDF.
Abbas
Ackbar.
Hong Kong: Culture and the Politics of Disappearance
.
Minneapolis
:
University of Minnesota Press
,
1997
.
Affron
Charles
, and
Mirella
Jona Affron.
Sets in Motion: Art Direction and Film Narrative
.
New Brunswick, N.J
.:
Rutgers University Press
,
1995
.
Ahlbäck
Pia Maria.
The Road to Industrial Heterotopia.
” In
Technologies of Landscape: From Reaping to Recycling
, ed.
David E.
Nye
.
Amherst
:
University of Massachusetts Press
,
1999
.
Ames
Walter L.
Police and Community in Japan
.
Berkeley
:
University of California Press
,
1981
.
Anderson
Marsten.
The Limits of Realism: Chinese Fiction in the Revolutionary Period
.
Berkeley
:
University of California Press
,
1990
.
Apel
Dora.
Memory Effects: The Holocaust and the Art of Secondary Witnessing
.
New Brunswick, N.J
.:
Rutgers University Press
,
2002
.
Appadurai
Arjun.
Grassroots Globalization and the Research Imagination.
Public Culture
12
, no.
1
(winter
2000
):
3
.
Appadurai
Arjun.
Modernity at Large: Cultural Dimensions of Globalization
.
Minneapolis
:
University of Minnesota Press
,
1996
.
Armes
Roy.
On Video
.
London
:
Routledge
,
1995 [1985]
.
Ashplant
T. G.
, and
Smyth
Gerry
eds.
Explorations in Cultural History
.
London
:
Pluto Press
,
2001
.
Barmé
Geremie R.
In the Red: On Contemporary Chinese Culture
.
New York
:
Columbia University Press
,
1999
.
Baudrillard
J.
Fatal Strategies
London
:
Pluto Press
,
1990
.
Bazin
André.
What Is Cinema?
Vol.
1
.
Berkeley
:
University of California Press
,
1967
.
Bazin
André.
What Is Cinema?
Vol.
II
.
Berkeley
:
University of California Press
,
1971
.
Benjamin
Walter.
The Arcades Project
trans.
Howard
Eiland
and
Kevin
McLaughlin
.
Cambridge, Mass.
:
Belknap Press of Harvard University Press
,
1999
.
Benjamin
Walter.
A Short History of Photography
” [
1931
].
Screen
13
(spring
1993
):
5
26
.
Benjamin
Walter.
Walter Benjamin: Selected Writings
. Vol.
1
:
1913–1926
, ed.
Marcus
Bullock
and
Michael W.
Jennings
.
Cambridge, Mass.
:
Harvard University Press
.
Benjamin
Walter.
The Work of Art in the Age of Mechanic Reproduction.
” In
Illuminations: Essays and Reflections
, ed.
Hannah
Arendt
, trans.
Harry
Zohn
.
New York
:
Schocken
,
1969
.
Berry
Chris.
Chinese Urban Cinema: Hyper-realism versus Absurdism.
East-West Film Journal
3
, no.
1
(
1988
):
76
87
.
Berry
Chris.
Crossing the Wall.
Dox
, no.
13
(
1997
):
14
15
.
Berry
Chris.
East Palace, West Palace: Staging Gay Life in China.
Jump Cut
, no.
42
(
1998
):
84
89
.
Berry
Chris.
A Haunting Presence: Let’s Love Let’s Love Hong Kong.
” In
Hok Yuk: Let’s Love Hong Kong—Script and Critical Essays
, ed.
Yau
Ching
.
Hong Kong
:
Youth Literary Press
,
2003
.
33
37
.
Berry
Chris.
Interview with Duan Jinchuan.
Metro
, no.
113/114
(
1998
):
88
89
.
Berry
Chris.
Race (Minzu): Chinese Film and the Politics of Nationalism.
Cinema Journal
31
, no.
2
(
1992
):
45
58
.
Berry
Chris.
Seeking Truth from Fiction: Feature Films as Historiography in Deng’s China.
Film History
7
, no.
1
(
1995
):
87
99
.
Berry
Chris.
Sexual DisOrientations: Homosexual Rights, East Asian Films, and Post-Modern Post-Nationalism.
In Pursuit of Contemporary East Asian Culture
, ed.
X.
Tang
and
S.
Snyder
.
Boulder
:
Westview Press
,
1996
.
157
82
.
Berry
Chris.
Watching Time Go By: Narrative Distension, Realism, and Postsocialism in Jia Zhangke’s Xiao Wu.
South Atlantic Quarterly
.
Forthcoming
.
Berry
Chris.
Zhang Yuan: Thriving in the Face of Adversity.
Cinemaya
32
(
1996
):
41
.
Berry
Chris
, and
Farquhar
Mary Ann.
Post-Socialist Strategies: An Analysis of Yellow Earth and Black Cannon Incident.
” In
Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan
, ed.
Linda
Ehrlich
and
David
Desser
.
Austin
:
University of Texas Press
,
1994
.
81
116
.
Bloom
Harold.
The Anxiety of Influence: A Theory of Poetry
.
New York
:
Oxford University Press
,
1997 [1975]
.
Blunt
Alison
, and
Gillian
Rose
, eds.
Writing Women and Space: Colonial and Postcolonial Geographies
.
New York
:
Guilford Press
,
1994
.
Boym
Svetlana.
Common Places: Mythologies of Everyday Life in Russia
.
Cambridge, Mass.
:
Harvard University Press
,
1994
.
Boym
Svetlana.
The Future of Nostalgia
.
New York
:
Basic Books
,
2001
.
Braester
Yomi.
Farewell, My Concubine: National Myth and City Memories.
” In
Chinese Films in Focus: Twenty-five New Takes
, ed.
Chris
Berry
.
London
:
British Film Institute
,
forthcoming
.
Braester
Yomi.
‘If We Could Remember Everything, We Would Be Able to Fly’: Taipei’s Cinematic Poetics of Demolition.
Modern Chinese Literature and Culture
15
, no.
1
(spring
2003
).
Braester
Yomi
, and
Zhang
Enhua.
The Future of China’s Memories: An Interview with Feng Jicai.
Journal of Modern Literature in Chinese
5
, no.
2
(
January
2002
):
131
48
.
Brewer
China.
People’s Republic of China.
” In
The Police, Public Order and the State
.
New York
:
St. Martin’s Press
,
1988
.
189
213
.
Bruno
Giuliana.
Streetwalking on a Ruined Map: Cultural Theory and the City Films of Elvira Notari
.
Princeton, N.J.
:
Princeton University Press
,
1993
.
Buck-Morss
Susan.
The Flaneur, the Sandwichman and the Whore: The Politics of Loitering.
New German Critique
39
(fall
1986
):
99
140
.
Cadava
Eduardo.
Words of Light: Theses on the Photography of History
.
Princeton, N.J.
:
Princeton University Press
,
1997
.
Caygill
Howard.
Walter Benjamin: The Colour of Experience
.
London
:
Routledge
,
1998
.
Certeau
Michel de.
The Practice of Everyday Life
.
Berkeley
:
University of California Press
,
1984
.
Chai
Xiaofeng.
Xiaowen ye fengkuang
[Xiaowen too is mad].
Changsha
:
Hunan wenyi chubanshe
,
1997
.
Chen
Lai.
Sixiang chulu de san dongxiang
” [The three directions of solution in thoughts]. In
Zhongguo dangdai wenhua yishi [Cultural consciousness in contemporary China]
, ed.
Gan
Yang
.
Hong Kong
:
Joint Publishing
,
1988
.
Chen
Nancy N.
et al, eds.,
China Urban: Ethnographies of Contemporary Culture
.
Durham, N.C.
:
Duke University Press
,
2001
.
Chen
Xiaoming.
Fenglie de liliang: Cong ‘Yueshi’ kan xindianying de biaoyi celue” [The Power of fission: A look at the ideographic tactics of new films from Lunar Eclipse]
.
Beijing dianying xuebao [Journal of Beijing Film Academy]
, no.
37
(
April
2000
):
40
.
Cheng
Jihua
,
Li
Shaohong
, and
Xin
Zhuwen.
Zhongguo dianying fazhan shi [History of the development of Chinese film]
.
2
vols.
Beijing
:
Zhongguo dianying chubanshe
,
1998
.
Cheng
Qingsong
and
Huang
He
,
Wode sheyingji bu sahuang [My camera doesn’t lie]
.
Beijing
:
Zhongguo youyi chuban gongsi
,
2002
.
Chow
Rey.
A Souvenir of Love.
Modern Chinese Literature
7
(
1993
):
74
75
.
Chute
David.
Beyond the Law.
Film Comment
30
, no.
1
(
1994
):
60
62
.
Clark
Paul.
Chinese Cinema: Culture and Politics since 1949
.
Cambridge, U.K.
:
Cambridge University Press
,
1987
.
Cobley
Paul
, ed.
The Communication Theory Reader
.
London
:
Routledge
,
1996
.
Cui
Shuqin.
Working from the Margins: Urban Cinema and Independent Directors in Contemporary China,
Post Script
20
, nos.
2–3
(
2001
):
77
93
.
Dai
Jinghua.
Imagined Nostalgia.
” In
Postmodernism and China
, ed.
Arif
Dirlik
and
Xudong
Zhang
.
Durham, N.C.
:
Duke University Press
,
2000
.
205
21
.
Dai
Jinghua.
A Scene in the Fog: Reading the Sixth Generation Films.
” In
Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua
, ed.
Jing
Wang
and
Tani E.
Barlow
.
London
:
Verso
,
2002
.
Dai
Jinghua.
Wu zhong fengjing: Zhongguo dianying wenhua 1978–1998., [Spectacles in a fog: Chinese film culture, 1978–1998]
.
Beijing
:
Beijing daxue chubanshe
,
2000
.
Dai
Jinghua.
Xie ta liaowang: Zhongguo dianying wenhua, 1978–1998 [A broad watch from the slanted tower: Chinese film culture, 1978–1998]
.
Taibei
:
Yuanliou
,
1999
.
Dai
Jinghua.
Yingxing shuxie: Jiushi niandai Zhongguo wenhua yanjiu [Invisible writing: Cultural studies of the China of the 90’s]
.
Nanjing
:
Jiangsu renmin chubanshe
,
1999
.
Davis
Deborah
et al, eds.,
Urban Spaces in Contemporary China: The Potential for Autonomy and Community in Post-Mao China
.
New York
:
Cambridge University Press, 1995
.
Davis
Fred.
Yearning for Yesterday: A Sociology of Nostalgia
.
New York
:
Free Press
,
1979
.
Dazhong dianying [Popular cinema]
, ed., “
Xinren xinzuo Yueshi ” [A new work from a newcomer: Lunar Eclipse]
,
Dazhong dianying [Popular cinema]
, no.
4
(
2000
):
12
13
.
Debord
Guy.
La société du spectacle
.
Paris
:
Buchet-Chastel
,
1967
.
De Kloet
Jeroen.
‘Let Him Fucking See the Green Smoke beneath My Groin’: The Mythology of Chinese Rock.
” In
Postmodernism and China
, ed.
Arif
Dirlik
and
Xudong
Zhang
.
Durham, N.C.
:
Duke University Press
,
2000
.
239
74
.
De Lauretis
Teresa.
Rethinking Women’s Cinema: Aesthetics and Feminist Theory.
” In
Multiple Voices in Feminist Film Criticism
, ed.
Diane
Carson
,
Linda
Dittmar
, and
Janice R.
Welsch
.
Minneapolis
:
University of Minnesota Press
,
1994
.
Deleuze
Gilles.
Cinema I: The Movement-Image
, trans.
Hugh
Tomlinson
.
Minneapolis
:
University of Minnesota Press
,
1986
.
Deleuze
Gilles.
Cinema 2: The Time-Image
, trans.
Hugh
Tomlinson
and
Robert
Galeta
.
Minneapolis
:
University of Minnesota Press
,
1989
.
Deleuze
Gilles
, and
Félix
Guattari.
Anti-Oedipus: Capitalism and Schizophrenia
.
Minneapolis
:
University of Minnesota Press
,
1983
.
Deleuze
Gilles
, and
Félix
Guattari.
Kafka: Toward a Minor Literature
, trans.
Dana
Polan.
Minneapolis
:
University of Minnesota Press
,
1986
.
Deng
Guanghui.
Lun 90 niandai Zhongguo dianying de yiyi shengchan” [The production of meaning in 1990s Chinese cinema]
.
Dangdai dianying
, no.
1
(
2001
):
33
39
.
Ding
Renren,
1993 Zhongguo dianying ‘mozhe shitou guohe’ ” [Chinese cinema in 1993: “Crossing the river by feeling the stones”]
.
Beijing ribao [Beijing Daily]
,
January
26 and 31
,
1994
.
Dirlik
Arif
, and
Xudong
Zhang.
Introduction: Postmodernism and China.
boundary 2
24
, no.
3
(
1997
):
1
18
.
Donald
Stephanie Hemelrik.
Public Secret, Public Spaces: Cinema and Civility in China
,
Lanham, Md.
:
Rowman and Littlefield
,
2000
.
Donald
Stephanie Hemelrik.
Women Reading Chinese Films: Between Orientalism and Silence.
Screen
36
, no.
4
(
1995
):
325
40
.
Duan
Yiping,
Gaojihui: Zhongguo chengshi zhongchan jieceng xiezhen [High-grade grey: A portrayal of the Chinese urban middle class]
.
Beijing
:
Zhongguo qingnian chubanshe
,
1999
.
Dutton
Michael.
The End of the Mass Line? Chinese Policing in the Era of the Contract.
Social Justice
27
, no.
2
(
2000
):
61
106
.
Eckholm
Eric.
Feted Abroad, and No Longer Banned in Beijing.
New York Times
.
December
16
,
1999
.
Ehrlich
Linda C.
Courtyards of Shadows and Light.
Cinemaya
37
(
1997
):
8
16
.
Fang
Ke.
Dangdai Beijing jiucheng gengxin: Diaocha, yanjiu, tansuo [Contemporary redevelopment in the inner city of Beijing: Survey, analysis, and investigation]
.
Beijing
:
Zhongguo jianzhu gongye chubanshe
,
2000
.
Feng
Jicai.
Feng Jicai hua Tianjin [Feng Jicai depicts Tianjin]
.
Shanghai
:
Shanghai wenyi chubanshe
,
2000
.
Feng
Jicai.
Jiucheng yiyun: Tianjin lao fangzi [Rhymes left by an old city: Old houses in Tianjin]
.
Tianjin
:
Tianjin Yangliuqing huashe
,
1995
.
Feng
Jicai.
Qiangjiu laojie [Rushing to save an old street]
.
Beijing
:
Xiyuan chubanshe
,
2000
.
Feng
Jicai.
Shouxia liuqing: Xiandai dushi wenhua de youhuan [Show leniency: The predicament of modern urban culture]
.
Shanghai
:
Xuelin chubanshe
,
2000
.
Foucault
Michel.
The History of Sexuality
, trans.
Robert
Hurley.
New York
:
Vintage
,
1990
.
Foucault
Michel.
The Order of Things
.
London
:
Routledge
,
1989
.
Foucault
Michel.
Politics, Philosophy, Culture: Interviews and Other Writings, 1977–1984
, trans.
Alan
Sheridan.
New York
:
Routledge
,
1988
.
Friedberg
Anne.
Window Shopping: Cinema and the Postmodern
.
Berkeley
:
University of California Press
,
1993
.
Fu
Cheng
, “
Bei Ying 2000” [Beijing Film Studio in 2000]
.
Dianying tongxun
, no.
6
(
2000
).
Gateward
Frances
, ed.
Zhang Yimou: Interviews
.
Jackson
:
University Press of Mississippi
,
2001
.
Gladney
Dru C.
Representing Nationality in China: Refiguring Majority/Minority Identities.
Journal of Asian Studies
53
, no.
1
(
1994
):
92
123
.
Gleber
Anke.
The Art of Taking a Walk: Flânerie, Literature, and Film in Weimar Culture
.
Princeton, N.J.
:
Princeton University Press
,
1999
.
Granet
Marcel.
La Pensée chinoise
.
Paris
:
Albin Michel
,
1981
.
Grossman
Andrew.
The Wind Will Carry Us.
Scope: An On-Line Journal of Film Studies
(
May
2001
), http://www.nottingham.ac.uk/film/journal/filmrev/thewind-will-carry-us.htm.
Gu
Zheng.
Women yiqi lai pai dianying ba: Hui wang ‘qingnian shiyan dianying xiaozu’ ” [Let’s make a movie together: A look back at the “Youth Experimental Film Group”]
.
Xianchang [Document]
, vol.
1
, edited by
Wu
Wenguang
.
Tianjin
:
Tianjin shehui kexueyuan chubanshe
,
2000
.
Gunning
Tom.
Tracing the Individual Body: Photography, Detectives, and Early Cinema.
” In
Cinema and the Invention of Modern Life
, ed.
Leo
Charney
and
Vanessa R.
Schwartz
.
Berkeley
:
University of California Press
,
1995
.
15
45
.
Guo
Changmao,
Dianying tizhi gaige yinian deshi tan” [On the gains and losses during a year of reform in the film system]
.
Dianying yishu [Film art]
, no.
5
(
1994
):
66
68
.
Guo
Xiaolu.
Zhongguo xuyao shenmeyang de dianying? Yi ci youguan dianying de diaocha baogao” [What kinds of films does China want? A report on a survey on film]
.
Film Art
, no.
278
(
May
5
,
2001
):
16
23
, 70.
Han
Xiaolei.
Dui diwudai de wenhua tuwei: Houwudai de geren dianying xianxiang” [A cultural breakaway from the Fifth Generation: The phenomenon of individualist film in the post-Fifth Generation]
.
Dianying yishu [Film art]
, no.
2
(
1995
):
58
63
.
Han
Xiaolei.
Tuwei hou de wenhua piaoyi” [Cultural drifting after the breakaway]
.
Dianying yishu [Film art]
, no.
5
(
1999
):
58
65
.
Hansen
Miriam.
Benjamin and Cinema: Not a One-Way Street.
Critical Inquiry
25
, no.
2
(winter
1999
):
306
43
.
Hansen
Miriam.
Fallen Women, Rising Stars, New Horizons: Shanghai Silent Film as Vernacular Modernism.
Film Quarterly
54
, no.
1
(
2000
):
10
22
.
Harootunian
Harry.
History’s Disquiet: Modernity, Cultural Practice, and the Question of Everyday Life
.
New York
:
Columbia University Press
,
2000
.
Henderson
Brian.
Toward a Non-Bourgeois Camera Style.
Film Quarterly
24
, no.
2
(winter
1970–71
):
2
14
.
Hetherington
Kevin.
The Badlands of Modernity: Heterotopia and Social Ordering
.
London
:
Routledge
,
1997
.
Hinsch
Bret.
Passion of the Cut Sleeve: The Male Homosexual Tradition in China
.
Berkeley
:
University of California Press
,
1990
.
Hoberman
J.
Conflict Management.
Village Voice
,
March
2
,
2001
. http://www.villagevoice.com/issues/0110/hoberman.php.
Hoberman
J.
Cults of Personality.
Village Voice
,
March
12–18
,
2003
. http://www.village voice.com/issues/0311/hoberman.php.
Hoberman
J.
Vertigo-a-go-go and More Déjà Viewing: Eternal Return.
Village Voice
,
November
14
,
2000
.
Hong
Jianshe.
Shi!” [Gone!]
.
Xiaofei zhe [Consumer]
, no.
12
(
2000
):
48
49
.
Hu
Die
,
Yinghou shengya: Hu Die huiyi lu [The career of the queen of cinema: Hu Die’s memoir]
.
Hangzhou
:
Zhejiang renmin chubanshe
,
1986
.
Hu
Ke
.
Jingqiao de xushu yishu” [An ingenious art of narration]
. In
Zhongghuo dianying meixue: 1999 [Chinese film aesthetics: 1999]
, ed.
Hu
Ke
et al
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
275
84
.
Hu
Ke
.
The Relationship between the Minority Nationalities and the Han in the Cinema.
” In
Chinese National Minorities Films [Lun Zhongguo Shaoshu Minzu Dianying]
, ed.
Gao
Honghu
et al,
Beijing
:
China Film Press
,
1997
.
205
11
.
Hu
Ke
,
Zhang
Wei
, and
Hu
Zhifeng
, eds.
Dangdai dianying lilun wenxuan [An anthology of contemporary film theory]
.
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
Huang
Du
, ed.
Post-Material: Interpretations of Everyday Life by Contemporary Chinese Artists
.
Beijing
:
World Chinese Arts Publication Company
,
2000
.
Huang
Du
, and
Bingyi
Huang.
Hou wuzhi [The post-material]
.
Beijing
:
Shijie huaren yishu chubanshe
,
2000
.
Huang
Jianxin.
Bu ke tidai de yishu dianying” [The irreplaceable art film]
.
Film Art
, no.
278
(
May
5
,
2001
):
9
11
.
Huang
Jianxin.
Shenghuo jueding le wo de dianying” [Life decided my films]
.
Dangdai dianying [Contemporary cinema]
, no.
4
(
July
1997
):
81
83
.
Huang
Shixian
,
Wenhua zhuanxing: Quanqiuhua qushi yu dianying tizhi gaige (1996–1999)” [Cultural transformation: Globalization and the reform of the film institution (1996–1999)]
.
Spectrums of the Century: Chinese Cinemas 1896–1999
.
Taipei
:
Council for Cultural Affairs and the Chinese Taipei Film Archive
,
2000
.
Huang
Shixian
et al, “
‘Yueshi’: Chufa Zhongguo dianying jianrui huatide xinrui zhi zuo” [Lunar Eclipse: A dashing work of a young director which has sparked a new topic of Chinese cinema]
.
Beijing Dianying xuebao [Journal of the Beijing Film Academy]
, no.
2
(
2000
):
32
.
Insdorf
Annette.
Double Lives, Second Chances: The Cinema of Krzysztof Kieslowski
.
New York
:
Hyperion
,
1999
.
Jaffee
Valerie.
Bringing the World to the Nation: Jia Zhangke and the Legitimation of Chinese Underground Film.
Senses of Cinema
, no.
32
(
July–September
2004
), http://www.sensesofcinema.com/contents/04/32/chinese—underground—film.html.
Jameson
Fredric.
Globalization as a Philosophical Issue.
” In
Cultures of Globalization
, ed.
Fredric
Jameson
and
Masao
Miyoshi.
Durham, N.C.
:
Duke University Press
,
1998
.
Jameson
Fredric.
A Singular Modernity: Essay on the Ontology of the Present
.
London
:
Verso
,
2002
.
Jia
Zhangke.
Cinema with an Accent: Interview with Jia Zhangke, Director of Platform.
” By
Stephen
Teo
.
Senses of Cinema
, no.
15
(
July/August
2001
),http:// www.sensesofcinema.com/contents/01/15/zhangke—interview.html.
Jia
Zhangke.
Fangwen ‘Xiao Wu’ daoyan Jia Zhangke” [Interview with Xiao Wu director Jia Zhangke]
. By
Wu
Wenguang.
Xianchang [Document]
, vol.
1
, ed.
Wu
Wenguang.
Tianjin
:
Tianjin shehui kexueyuan chubanshe
,
2000
.
184
212
.
Jia
Zhangke.
Jia Zhangke fangtan: You yigu qi zhengzai ningju” [Jia Zhangke interview: There’s a puff of vapor that’s now condensing]
.
Nanfang dushi bao [Nanfang metropolitan news]
,
March
4
,
2003
.
Jia
Zhangke.
Jia Zhangke: Keyi shuo shi yi zhong tuoxie” [Jia Zhangke: You can say it ’s a kind of compromise]
.
Qingnian bao [Youth daily]
,
April
15
,
2003
.
Jia
Zhangke.
Jia Zhangke: Zai ‘zhantai’ shang dengdai” [Jia Zhangke: Waiting on the “Platform”]
. By
Cheng
Qingsong
and
Huang
Ou.
In
Wo de sheyingji bu sahuang: Liushi niandai Zhongguo dianying daoyan dang’an [My camera doesn’t lie: Files on the ’60s generation of Chinese film directors]
, ed.
Cheng
Qingsong
and
Huang
Ou.
Beijing
:
Zhongguo youyi chuban gongsi
,
2002
.
341
64
.
Jia
Zhangke.
Jingyan shijiezhong de yingxiang xuanze: Jia Zhangke fangtan lu” [Selecting images in the experiential world: an interview with Jia Zhangke]
. By
Sun
Jianmin.
Jinri xianfeng [Avant-garde today]
12
(
March
2002
):
18
39
.
Jia
Zhangke.
Zhongguo de duli dianying ren” [China’s independent filmmaker]
. In
Dianying chufang: Dianying zai Zhongguo [Film kitchen: Film in China]
, ed.
Wang
Shuo
.
Shanghai
:
Shanghai wenyi chubanshe
,
2001
.
146
63
.
Johnstone
William Crane
Jr.
The Shanghai Problem
.
Westport, Conn.
:
Hyperion Press
,
1973
.
Jones
Andrew F.
Like a Knife: Ideology and Genre in Contemporary Chinese Popular Music
.
Ithaca, N.Y.
:
East Asia Program, Cornell University
,
1992
.
King
Anthony D.
and
Abidin
Kusno
, “
On Be(j)ing in the World: ‘Postmodernism,’ ‘Globalization,’ and the Making of Transnational Space in China.
” In
Postmodernism and China
, ed.
Arif
Dirlik
and
Xudong
Zhang
.
Durham
:
Duke University Press
,
2000
.
Knabb
Ken
, ed. and trans.
Situationist International Anthology
.
Berkeley
:
Bureau of Public Secrets
,
1981
.
Kracauer
Siegfried.
From Dr. Caligari to Hitler: A Psychological History of the German Film
.
Princeton, N.J.
:
Princeton University Press
,
1947
.
Kracauer
Siegfried.
Photography
” [
1927
], trans.
Thomas
Levin
.
Critical Inquiry
19
(spring
1993
):
433
.
Kracauer
Siegfried.
Theory of Film: The Redemption of Physical Reality
[1960].
Princeton, N.J.
:
Princeton University Press
,
1997
.
Krutnik
Frank.
In a Lonely Street: Film Noir, Genre, Masculinity
.
London
:
Routledge
,
1991
.
La Capra
Dominick.
Representing the Holocaust: History, Theory, Trauma
.
Ithaca, N.Y.
:
Cornell University Press
,
1996
.
Lau
Jenny Kwok Wah.
Globalization and Youthful Subculture: The Chinese Sixth Generation Films at the Dawn of the New Century.
” In
Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia
, ed.
Jenny Kwok Wah
Lau
.
Philadelphia
:
Temple University Press
,
2003
.
13
27
.
Lee
Leo Ou-fan.
Shanghai Modern: The Flowering of a New Urban Culture, 1930–1945
.
Cambridge, Mass.
:
Harvard University Press
,
1999
.
Lee
Leo Ou-fan.
The Urban Milieu of Shanghai Cinema, 1930–1940: Some Explorations of Film Audience, Film Culture, and Narrative Conventions.
” In
Cinema and Urban Culture in Shanghai, 1922–1943
, ed.
Yinjing
Zhang.
Stanford, Calif.
:
Stanford University Press
,
1999
.
74
96
.
Lefebvre
Henri.
The Production of Space
, trans.
Donald
Nicholson-Smith.
Oxford
:
Blackwell
,
1991
.
Leyda
Jay.
Dianying
.
Cambridge, Mass
:
mit Press
,
1972
.
Li
Xianting.
Dangdai yishu zhong de sheying meijie re” [The photography craze in contemporary art]
.
Jinri xianfeng [Avant-garde today]
, no.
10
(
January
2001
):
136
47
.
Li
Xingfa,
Ruhe kan Zhongguopian zai guowai huojiang?” [How to view the winning of international awards of Chinese films?]
.
Dangdai dianying
, no.
4
(
1997
):
33
37
.
Lin
Xudong,
interview with Jia Zhangke, “
Yige laizi Zhongguo jicengde minjian daoyan” [A people’s director who comes from the grassroots level of China]
.
Today
, no.
3
(
1999
).
Li
Yan.
wto laile women zenme ban?” [What should we do when wto comes?]
.
Dazhong dianying [Popular Cinema]
, no.
6
(
2000
):
50
55
.
Li
Yiming.
Cong di wu dai dao di liu dai: Jiushi niandai qianqi Zhongguo dalu dianying de yanbian” [From the fifth generation to the sixth generation: Evolutionary changes in Mainland Chinese cinema in the first half of the 1990s]
.
Film Art
1
(
1998
):
15
22
.
Li
Yiming.
Shenme shi dianying?” [What is cinema?]
. In
Jiushi niandai de “Diwudai” [The “Fifth-Generation” of the nineties]
, ed.
Yang
Yuanying
,
Pan
Hua
, and
Zhang
Zhuan.
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
408
46
.
Liao
Yan
, and
Huang
Dongjiang.
Duo jian jingji shiyong fang, ladong fangjia wang xia jiang” [Build more economic practical houses, bring down the price of houses]
.
Chen bao [Beijing morning post]
,
February
7,
2001
,
1
.
Lim
Dennis.
Lou Ye: Generation Next.
Village Voice
,
November
8–14
,
2000
. http://www.villagevoice.com/issues/0045/lim.php.
Lin
Baocheng.
Dalu diliudai daoyan de chuangzuo tiaozhan yu meixue fangxiang” [Artistic challenges and aesthetic orientations of the sixth-generation film directors from the mainland]
.
Dianying xinshang [Film appreciation journal]
(
Taiwan
), no.
105
(fall
2000
):
67
75
.
Lin
Xiaoping.
Discourse and Displacement: Contemplating Beijing’s Urban Landscape.
Art AsiaPacific
, no.
25
(
2000
):
76
81
.
Lin
Xiaoping.
New Chinese Cinema of the ‘Sixth Generation’: A Distant Cry of Forsaken Children.
Third Text
16
, no.
3
(
September
2002
):
261
84
.
Liu
Lydia H.
Beijing Sojourners in New York: Postsocialism and the Question of Ideology in Global Media Culture.
positions
7
, no.
3
(
1999
):
763
97
.
Liu
Lydia H.
Translingual Practice: The Discourse of Individualism between China and the West.
positions
1
, no.
1
(
1993
):
160
93
.
Lo
Kwai-cheng
(Lo Guixiang). “
Hou xiandai zhuyi yu Liang Bingjun ‘you shi’ (jielu)” [Leung Ping-kwan’s Wandering Poems and postmodernism (extract)]
.
Liang Bingjun juan [Leung Ping-kwan collection]
, ed.
Ji
Si
.
Hong Kong
:
Joint Publishing
,
1989
.
Lou
Ye.
Popular Documentary Films.
Beijing Review
41
, no.
26
(
1998
):
28
29
.
Lu
Sheldon H.
China, Transnational Visuality, Global Postmodernity
.
Stanford, Calif.
:
Stanford University Press
,
2001
.
Lu
Wei.
Shuoshuo Zhou Xiaowen” [On Zhou Xiaowen in brief]
. In
90 niandai de “diwudai” [“The fifth generation” in the 1990s]
, ed.
Yang
Yuanying
et al
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
347
58
.
Xiaoming.
90 niandai Zhongguo dianying jingguan zhiyi ‘diliu dai’ jiqi zhiyi” [An inquiry into ‘the sixth generation’ as a Chinese film spectacle in the 1990s]
.
Dianying yishu [Film art]
, no.
3
(
1999
):
23
28
.
Lu
Xiaopeng
(Sheldon H. Lu). “
Gouzao ‘Zhonguo’ de celüe: Xianfeng yishu yu hou dongfang zhuyi” [Strategies of constructing ‘China’: avant-garde art and post-orientalism]
.
Jinri xianfeng [Avant-garde today]
, no.
10
(
January
2001
):
148
61
.
Lu
Xinyu.
Zhongguo xin jilupian yundong [The new documentary film movement in China]
.
Shanghai
:
Shanghai Wenyi Chubanshe
,
2003
.
Lu
Xun.
A Brief History of Chinese Fiction
, trans.
Yang
Hsien-yi
and
Gladys
Yang
.
Beijing
:
Foreign Languages Press
,
1959
.
Ma
Delin.
Meishi touzhe le sheying suibi” [Notes on the cinematography of A Tree in House]
.
Dianying yishu [Film art]
, no.
3
(
1999
):
21
.
Ma
Ning
, “
Satisfied or Not: Desire and Discourse in the Chinese Comedy of the 1960s.
East-West Film Journal
2
, no.
1
(
1987
):
32
49
.
Ma
Ning.
The Textual and Critical Difference of Being Radical: Reconstructing Chinese Leftist Films of the 1930s.
Wide Angle
11
, no.
2
(
1989
):
22
31
.
MacKinnon
Stephen.
A Late Qing-GMD-PRC Connection: Police as an Arm of the Modern Chinese State.
Selected Papers in Asian Studies, New Series
(
Western Conference of the Association for Asian Studies
), no.
14
(
1983
).
MacKinnon
Stephen.
Power and Politics in Late Imperial China: Yuan Shikai in Beijing and Tianjin, 1901–1908
.
Berkeley
:
University of California Press
,
1980
.
Maggio
Meg
, ed.
Gao Brothers (exhibition catalogue)
.
Beijing
:
Courtyard
,
2001
.
Maggio
Meg.
Introduction.
Hong Hao: Scenes from the Metropolis (Jing xiang) (exhibition catalogue)
.
Beijing
:
Courtyard
,
2000
.
McCormick
Elsie.
Audacious Angles on China
.
New York
:
D. Appleton and Company
,
1923
.
Meng
Xianli,
Lun houxiandai yujingxia Zhongguo dianyingde xiezuo” [On Chinese cinematic inscription in the postmodern discursive context]
. In
Dangdai dianying lilun wenxuan [An anthology of contemporary film theory]
, ed.
Hu
Ke
,
Zhang
Wei
, and
Hu
Zhifeng
.
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
Minh-ha
Trinh T.
When the Moon Waxes Red: Representation, Gender and Cultural Politics
.
New York
:
Routledge
,
1991
.
Mittler
Barbara.
Cultural Revolution Model Works and the Politics of Modernization in China: An Analysis of Taking Tiger Mountain by Strategy.
World of Music
(
2003
):
2
.
Moore
Rachel.
Savage Theory: Cinema as Modern Magic
.
Durham, N.C.
:
Duke University Press
,
2000
.
Morales
Alejandro.
Essay: Dynamic Identities in Heterotopia.
” In
Alejandro Morales: Fiction Past, Present, Future Perfect
, ed.
Jose Antonio
Gurpegui
.
Tempe, Ariz.
:
Bilingual Review Press
,
1996
.
Murphey
Rhoads.
Shanghai: Key to Modern China
.
Cambridge, Mass.
:
Harvard University Press
,
1953
.
Ni
Zhen.
Chengshi dianying de wenhua maodun” [Cultural Contradiction in City Films]
. In
Dangdai huayu dianying lunshu [Discussion of contemporary Chinese-language cinema]
, ed.
Li
Tianduo
.
Taipei
:
China Times Press
,
1996
.
227
47
.
Ni
Zhen.
Jishixing dianying he geren fengge de wanshan: ping Minjing gushi ” [The perfection of docu-dramatic film and personal style: A critique of Minjing gushi]
. In
Jiushi nidai de “diwudai” [The “Fifth-Generation” of the Nineties]
, ed.
Yang
Yuanying
,
Pan
Hua
, and
Zhang
Zhuan
.
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
427
33
.
Ni
Zhen.
Shouwang xinsheng dai” [Expectations for the Newborn Generation]
.
Dianying yishu [Film art]
, no.
4
(
1999
):
70
73
.
Nichols
Bill.
Frederick Wiseman’s Documentaries: Theory and Structure.
” In
Ideology and the Image
.
Bloomington
:
University of Indiana Press
,
1981
.
208
36
.
Oura
Kanetake,
The Police of Japan.
” In
Fifty Years of New Japan
, vol.
1
, ed.
Okuma
Shigenobu
.
New York
:
Kraus
,
1970
.
281
95
.
Palmer
Augusta.
Crossroads: Nostalgia and the Documentary Impulse in Chinese Cinemas of the 1990s.
” diss Ph.D.,
New York University
,
2004
.
Pang
Laikwan.
Building a New China in Cinema: The Chinese Left-wing Cinema Movement, 1932–1937
.
Lanham, Md.
:
Rowman and Littlefield
,
2002
.
Petro
Patrice
ed.,
Fugitive Images: From Photography to Video
.
Bloomington
:
Indiana University Press
,
1995
.
Pickowicz
Paul G.
Huang Jianxin and the Notion of Postsocialism.
” In
New Chinese Cinemas: Forms, Identities, Politics
, ed.
Nick
Browne
,
Paul
Pickowicz G.
,
Vivian
Sobchack
, and
Esther
Yau
.
New York
:
Cambridge University Press
,
1994
.
57
87
.
Pickowicz
Paul G.
Melodramatic Representation and the ‘May Fourth’ Tradition of Chinese Cinema.
” In
From May Fourth to June Fourth: Fiction and Film in Twentieth-Century China
, ed.
Ellen
Widmer
and
David
Der-wei Wang
.
Cambridge, Mass.
:
Harvard University Press
,
1993
.
Pickowicz
Paul G.
Velvet Prisons and the Political Economy of Chinese Filmmaking.
” In
Urban Spaces in Contemporary China: The Potential for Autonomy and Community in Post-Mao China
, ed.
Deborah
Davis
,
Richard
Kraus
,
Barry
Naughton
, and
Elizabeth
Perry
.
New York
:
Cambridge University Press
,
1995
.
193
220
.
Pomfret
John.
From China’s Feng Xiaogang, a ‘Sigh’ of the Times: Filmmaker Skirts the Censors—and Western Expectations.
Washington Post
,
October
15
,
2000
.
Price
Mary.
The Photograph: A Strange Confined Space
.
Stanford, Calif.
:
Stanford University Press
,
1994
.
Quiquemelle
Marie-Claire
, and
Jean-Loup
Passek
, eds.
Le Cinéma chinois
.
Paris
:
Centre Georges Pompidou
,
1985
.
Rao
Shuoguang
,
Shehui/wenhua zhuanxing yu dianyingde fenghua jiqi zhenghe” [Socio-cultural transformation and the fragmentation and reintegration of cinema]
.
Dangdai dianying
, no.
1
(
2000
).
Rayns
Tony.
Chinese Vocabulary: An Introduction to King of the Children and the New Chinese Cinema.
” In
King of the Children and the New Chinese Cinema
, ed.
Chen
Kaige
and
Tony
Rayns
.
London
:
Faber and Faber
,
1989
.
1
58
.
Rayns
Tony.
Provoking Desire.
Sight and Sound
(
July
1988
):
47
48
.
Reynaud
Bérénice.
Gay Overtures: Zhang Yuan’s East Palace, West Palace.
Cinemaya
36
(
1997
):
31
33
.
Reynaud
Bérénice.
New Visions/New Chinas: Video—Art, Documentation, and the Chinese Modernity in Question.
” In
Resolutions: Contemporary Video Practices
, ed.
Michael
Renov
and
Erika
Suderburg
.
Minneapolis
:
University of Minnesota Press
,
1996
.
229
57
.
Reynaud
Bérénice.
Nouvelles chines, nouveaux cinémas
.
Paris
:
Cahiers du cinéma
,
1999
.
Rodowick
D. N.
Gilles Deleuze’s Time Machine
.
Durham, N.C.
:
Duke University Press
,
1997
.
Rosen
Stanley.
‘The Wolf at the Door’: Hollywood and the Film Market in China from 1994–2000.
” In
Southern California in the World and the World in Southern California
, ed.
Eric J.
Heikkila
and
Rafael
Pizarro
.
Westport, Conn.
:
Greenwood
,
forthcoming
.
Rosenbaum
Jonathan.
Critic’s Choice: Platform.
Chicago Reader
,
May
17
,
2002
.
Rothberg
Michael.
Traumatic Realism: The Demands of Holocaust Representation
.
Minneapolis
:
University of Minnesota Press
,
2000
.
Ruiz
Raul.
Poetics of Cinema: Miscellanies
, trans.
Brian
Holmes
.
Paris
:
Dis Voir
,
1995
.
Sassen
Saskia.
The Global City: New York, London, Tokyo
.
Princeton, N.J.
:
Princeton University Press
,
1996
.
Sassen
Saskia.
Globalization and Its Discontents
.
New York
:
Free Press
,
1998
.
Schrader
Paul.
Notes on Film Noir.
” In
Film Genre Reader II
, ed.
Barry
Keith Grant.
Austin
:
University of Texas Press
,
1995
.
Schwartz
Hillel.
The Culture of the Copy: Striking Likeness, Unreasonable Facsimiles
.
New York
:
Zone Books
,
1996
.
Shaviro
Steve.
The Cinematic Body
.
Minneapolis
:
University of Minnesota Press
,
1993
.
Shen
Yun.
Guan yu ‘Zhao le’ he “‘Minjing gushi’” [About For Fun and On the Beat]
. In
Jiushi niandai de “Diwudai” [The “Fifth-Generation” of the nineties]
, ed.
Yang
Yuanying
,
Pan
Hua
, and
Zhang
Zhuan
.
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
395
407
.
Shen
Yun.
Guanyu Zhaole he Minjing gushi—Yu Ning Ying de Fangtan” [On For Fun and On the Beat—An interview with Ning Ying]
.
Dangdai dianying
, no.
3
(
1996
):
33
38
.
Shield
Rob.
Fancy Footwork: Walter Benjamin’s Notes on Flânerie.
” In
The Flâneur
, ed.
Keith
Tester
.
London
:
Routledge
,
1994
.
Silbergeld
Jerome.
Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China’s Moral Voice
.
Seattle
:
University of Washington Press
,
2004
.
Spaas
Lieve.
Center, Periphery and Marginality in the Films of Alain Tanner.
” In
Spaces in European Cinema
, ed.
Myrto
Konstantarakos
.
Exeter, U.K.
:
Intellect
,
2000
.
152
65
.
Stam
Robert.
Film Theory: An Introduction
.
Malden, Mass.
:
Blackwell
,
2000
.
Su
Xiaokang.
A History of Misfortune
, trans.
Zhu
Hong
.
New York
:
Knopf
,
2001
.
Su
Xiaokang
, and
Wang
Luxiang.
Deathsong of the River: A Reader’s Guide to the Chinese tv Series Heshang
, trans.
Richard W.
Bodman
and
P.
Wan
.
Ithaca, N.Y.
:
East Asia Program, Cornell University
,
1991
.
Sullivan
Gerard
, and
Peter
A. Jackson
, eds.
Gay and Lesbian Asia: Culture, Identity, Community
.
New York
:
Haworth Press
:
2001
.
Tang
Xianzu.
The Peony Pavilion
, trans.
Cyril
Birch.
Bloomington
:
Indiana University Press
,
1980
.
Tang
Xiaobing.
Chinese Modern: The Heroic and the Quotidian
.
Durham, N.C.
:
Duke University Press
,
2000
.
Tang
Ye
, “
From the Fifth to the Sixth Generation: An Interview with Zhang Yimou,
Film Quarterly
53
, no.
2
(winter
1999
):
12
.
Wakeman
Frederic
Jr.
Policing Shanghai, 1927–1937
.
Berkeley
:
University of California Press
,
1995
.
Wang
Anyi.
Chang hen ge
.
Hong Kong
:
Cosmos
,
1996
.
Wang
Jing.
Heshang and the Paradoxes of the Chinese Enlightenment.
” In
High Culture Fever: Politics, Aesthetics, and Ideology in Deng’s China
.
Berkeley
:
University of California Press
,
1996
.
118
36
.
Wang
Jing
, and
Tani
Barlow
, eds.
Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua
.
London
:
Verso
,
2002
.
Wang
Shuo.
Feu et glace
.
Arles
:
Editions Philippe Picquier
,
1995
.
Wang
Shuo.
Je suis ton papa
.
Paris
:
Flammarion
,
1997
.
Wang
Shuo.
Playing for Thrills
.
New York
:
Penguin Book
,
1998
.
Wang
Shuo.
Please Don’t Call Me Human
.
New York
:
Hyperion
,
2000
.
Wang
Xiaobo.
L’âge d’or
.
Versailles
:
éd. du Sorgho
,
2001
.
Wang
Xiaoming.
Banzhanglian de shenhua [Myth of the half-faced portrait]
.
Guangdong
:
Nanfang ribao chubanshe
,
2000
.
Wei
Hui.
Shanghai Baby
, trans.
Bruce
Hume
.
New York
:
Pocket Books
,
2001
.
White
Jerry.
The Films of Ning Ying: China Unfolding in Miniature.
Cineaction
42
(
1997
):
2
9
.
Wilson
Elizabeth.
The Invisible Flaneur.
New Left Review
191
(
1992
):
90
110
.
Wu
Guanping.
Fang qingnian daoyan Lu Xuechang” [An interview with young director Lu Xuechang]
.
Dianying yishu [Film art]
no.
4
(
2000
):
61
65
.
Wu
Hung.
The Hong Kong Clock: Public Time-Telling and Political Time/ Space.
Public Culture
9
, no.
3
(spring
1997
):
329
54
.
Wu
Hung.
Transience: Chinese Experimental Art at the End of the Twentieth Century
.
Chicago
:
University of Chicago Press
,
1999
.
Wu
Wenguang.
Bumming in Beijing—The Last Dreamers.
” In
The Twentieth Hong Kong International Film Festival
, ed.
Urban Council. Hong Kong
:
Urban Council
,
1996
.
130
.
Wu
Wenguang.
Fangwen Xiao Wu daoyan Jia Zhangke” [An interview with Jia Zhangke, director of Xiao Wu]
. In
Xianchang [Document]
, ed.
Wu
Wenguang
(
Tianjing
:
Tianjing shehui kexueyuan chubanshe
,
2000
).
Wu
Wenguang.
Just on the Road: A Description of the Individual Way of Recording Images in the 1990s.
” In
Reinterpretation: A Decade of Experimental Chinese Art 1900–2000
, ed.
Wu
Hung
et al
Guangzhou
:
Guangdong Museum of Art
,
2002
.
Wu
Zuguang
,
Huang
Zuolin
, and
Mei
Shaowu.
Peking Opera and Mei Lanfang
.
Beijing
:
New World Press
,
1984
.
Xie
Fei.
Dui nianqing daoyan men de san dian kanfa” [Three views on the young directors]
.
Film Art
, no.
270
(
January
5
,
2000
):
12
14
.
Yang
Mayfair Mei-hui.
Mass Media and Transnational Subjectivity in Shanghai: Notes on (Re)Cosmopolitanism in a Chinese Metropolis.
” In
Ungrounded Empires: The Cultural Politics of Modern Chinese Transnationalism
, ed.
Donald M.
Nonini
and
Aihwa
Ong
.
New York
:
Routledge
,
1997
.
287
319
.
Yang
Yuanying.
Conversations with Ning Ying.
” In
Their Voices: Autobiographies of Chinese Women Directors
.
Beijing
:
Zhongguo shehui chuban
,
1996
.
Yangzi
,
“Fengge yizhong, huo qita” [A style, or something else]
.
Shijian shouce
, no.
4
(
2001
).
Yau
Ching
, ed.
Hok Yuk: Let’s Love Hong Kong—Script and Critical Essays
.
Hong Kong
:
Youth Literary Press
,
2003
.
Yau
Esther C. M.
Is China the End of Hermeneutics? Or, Political and Cultural Usage of Non-Han Women in Mainland Chinese Films.
Discourse
11
, no.
2
(
1989
):
115
38
.
Yee
Frank Ki Chun.
Police in Modern China.
” diss Ph.D.,
University of California
,
Berkeley
,
1942
.
Yin
Hong.
Chengren yishi: Quanwei yizhi yu dongfang zhuyi de shutu tonggui” [A rite of passage: The convergence of authoritarianism and Orientalism]
. In
Zhongghuo dianying meixue: 1999 [Chinese film aesthetics: 1999]
, ed.
Hu
Ke
et al
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
302
10
.
Yin
Hong.
Shiji zhi jiao: Jiushi niandai zhongguo dianying beiwang” [The turn of the century: Memo on Chinese cinema in the nineties]
. In
Bainian Zhongguo dianying lilun wenxuan [Selected works of one-hundred years of Chinese film theory]
, ed.
Ding
Yaping
.
Beijing
:
Wenhua yishu chubanshe
,
2002
.
2
:
658
89
.
Yin
Hong.
Zai jiafeng zhong zhangda: Zhongguo dalu xinsheng dai de dianying shijie” [Growing up between the fissures: The film world of the Newborn generation]
.
Ershiyi shiji
49
(
October
1998
):
88
93
.
Yu
Aiyuan.
Tuwei, taoli, luowang” [Breakthrough, escape, ensnarement]
.
Jinri xianfeng [Avant-garde today]
12
(
March
2002
):
39
.
Yu
Meiying.
Qunian Beijing shangpin fang mai le 230 yi” [Last year commodity houses worth 23 billion yuan were sold in Beijing]
.
Beijing qingnian bao [Beijing youth daily]
,
February
13
,
2001
,
34
.
Yu
Yunke.
Toufa luanle? Mei luan!” [Disheveled hair? No!]
.
Dazhong dianying [Popular cinema]
no.
1
(
1995
):
32
33
.
Zeitlin
Judith.
Embodying the Disembodied: Representation of Ghosts and the Feminine.
” In
Writing Women in Late Imperial China
, ed.
Ellen
Widmer
and
Kang-I Sun
Chang
.
Stanford
:
Stanford University Press
,
1997
.
Zhang
Jianqun
, “
Jia Zhangke kewang zhuliu: Haishi xian pai heibang pian” [Jia Zhangke seeks the mainstream: Will shoot a gangster film first]
.
Qingnian bao (Youth daily)
,
April
15
,
2003
.
Zhang
Jinggan.
Beijing guihua jianshe zongheng tan [On Beijing’s urban planning and construction]
.
Beijing
:
Beijing Yanshan chubanshe
,
1997
.
Zhang
Jinggan.
Beijing guihua jianshe wushi nian [Fifty years of urban planning and development in Beijing]
.
Beijing
:
Zhongguo shudian
,
2001
.
Zhang
Nuanxin
, and
Li
Tuo.
Tan dianying yuyan de xiandaihua” [On the modernization of cinematic language]
. In
Bainian Zhongguo dianying lilun wenxuan [Selected works of one hundred years of Chinese film theory]
, ed.
Ding
Yaping
.
Beijing
:
Wenhua yishu chubanshe
,
2002
.
2
:
10
36
.
Zhang
Xudong.
Chinese Modernism in the Era of Reforms: Cultural Fever, Avantgarde Fiction, and the New Chinese Cinema
.
Durham, N.C.
:
Duke University Press
,
1997
.
Zhang
Xudong.
Epilogue: Postmodernism and Post-Socialist Society—Historicizing the Present.
” In
Postmodernism and China
, ed.
Arif
Dirlik
and
Xudong
Zhang
.
Durham, N.C.
:
Duke University Press
,
2000
.
399
442
.
Zhang
Xudong.
, ed.
Whither China? Intellectual Politics in Contemporary China
.
Durham, N.C.
:
Duke University Press
,
2001
.
Zhang
Yibai.
Tongwang chuntian de wuge zhantai” [Five platforms in the subway to spring]
. In
Dianying yishu [Film art]
, no.
6
(
2002
):
76
78
.
Zhang
Yingjin.
Chinese National Cinema
.
London
:
Routledge
,
2004
.
Zhang
Yingjin.
From ‘Minority Film’ to ‘Minority Discourse’: Questions of Nationhood and Ethnicity in Chinese Cinema.
” In
Transnational Chinese Cinemas: Identity, Nationhood, Gender
, ed.
Sheldon Hsiao-peng
Lu
.
Honolulu
:
University of Hawaii Press
,
1997
.
81
104
.
Zhang
Yingjin.
Narrative, Ideology, Subjectivity: Defining a Subversive Discourse in Chinese Reportage.
” In
Politics, Ideology and Literary Discourse in Modern China: Theoretical Interventions and Cultural Studies
, ed.
Liu
Kang
and
Xiaobing
Tang
.
Durham, N.C.
:
Duke University Press
,
1993
.
211
42
.
Zhang
Yingjin.
Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema
.
Ann Arbor
:
Center for Chinese Studies, University of Michigan
,
2002
.
Zhang
Yiwu.
Fazhan de xiangxiang: 1990–1994 Zhongguo dalu leixing dianying” [Imaginations on development: Genre films in Mainland China in 1990–1994]
.
Film Art
, no.
264
(
January
10
,
1999
),
68
72
.
Zhang
Yiwu.
Hou xinshiqi: Xinde wenhua kongjian” [Post–New Era: A new cultural space]
.
Wenyi zhengmin
, no.
6
(
1992
):
9
12
.
Zhang
Yiwu.
Hou xinshiqi Zhongguo dianying: Fenglie de tiaozhan” [Chinese cinema of the Post–New Era: The challenge of fragmentation]
.
Dangdai dianying
, no.
5
(
1994
):
4
11
.
Zhang
Yiwu.
Zaidu xiangxiang Zhongguo: Quanqiuhua de tiaozhan yu xin de ‘neixianghua’ ” [Re-imagining China: The challenge of globalization and the new “inward turn”]
.
Dianying xinshang [Film appreciation journal]
(
Taiwan
), no.
105
(fall
2000
):
35
43
.
Zhang
Zhen.
An Amorous History of the Silver Screen: Shanghai Cinema, 1896–1937
.
Chicago
:
University of Chicago Press
,
2005
.
Zhang
Zhen.
Mediating Time: The ‘Rice Bowl of Youth’ in Fin de Siècle Urban China.
Public Culture
12
, no.
1
(
2000
):
93
113
.
Zhang
Zhen.
Teahouse, Shadowplay, Bricolage: Laborer’s Love and the Question of Early Chinese Cinema.
” In
Cinema and Urban Culture in Shanghai, 1922–1943
, ed.
Yingjin
Zhang
.
Stanford
:
Stanford University Press
,
1999
.
Zhang
Zhen.
Zhang Yuan.
” In
Fifty Contemporary Filmmakers
, ed.
Yvonne
Tasker
.
London
:
Routledge
,
2002
.
Zheng
Guoen
, and
Hong
Qi.
Jiadingxing zhong xunqiu zhenshigan” [Seeking a sense of reality from a false assumption]
. In
Zhongghuo dianying meixue: 1999 [Chinese film aesthetics: 1999]
, ed.
Hu
Ke
et al
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
292
96
.
Zhong
Dafeng
,
Zhang
Zhen
, and
Yingjin
Zhang.
From Wenmingxi (Civilized Play) to Yingxi (Shadow Play): The Foundation of Shanghai Film Industry in the 1920s.
Asian Cinema
9
, no.
1
(fall
1997
):
46
64
.
Zhong
Xueping.
Masculinity Besieged? Issues of Modernity and Male Subjectivity in Chinese Literature of the Late Twentieth Century
.
Durham, N.C.
:
Duke University Press
,
2000
.
Zhong
Xueping
,
Wang
Zheng
, and
Bai
Di
, eds.
Some of Us: Chinese Women Growing Up in the Mao Era
.
New Brunswick, N.J.
:
Rutgers University Press
,
2001
.
Zhongguo
dianying nianjian she
ed.
1997 Zhongguo dianying nianjian [1997 China film book]
.
Beijing
:
Zhongguo dianying nianjian she
,
1998
.
Zhou
Jiawang.
Xin diming Beijingren zhao bu zhao” [Beijingers can’t find the new place names]
.
Beijing wanbao [Beijing evening news]
,
March
22
,
2001
,
1
.
Zhu
Xiaoyi.
Zhongguo xianfeng yishu zhi huigu ji jiushi niandai Zhongguo xianfeng dianying” [A retrospective on the Chinese avant-garde art and the Chinese avant-garde films in the 1990s]
.
Film Art,
no.
276
(
January
5
,
2001
):
79
87
.
Zhu
Yujun
,
Xiandai dianshi jishi [Contemporary television documentaries]
.
Beijing
:
Beijing Guangbo xueyuan chubanshe
,
2000
.
Zou
Yiren.
Jiu Shanghai renkou bianqian de yanjiu [Research on Population Changes in Old Shanghai]
.
Shanghai
:
Shanghai renmin chubanshe
,
1980
.

Figures & Tables

Contents

Advertisement

References

Abbas
Ackbar.
Hong Kong: Culture and the Politics of Disappearance
.
Minneapolis
:
University of Minnesota Press
,
1997
.
Affron
Charles
, and
Mirella
Jona Affron.
Sets in Motion: Art Direction and Film Narrative
.
New Brunswick, N.J
.:
Rutgers University Press
,
1995
.
Ahlbäck
Pia Maria.
The Road to Industrial Heterotopia.
” In
Technologies of Landscape: From Reaping to Recycling
, ed.
David E.
Nye
.
Amherst
:
University of Massachusetts Press
,
1999
.
Ames
Walter L.
Police and Community in Japan
.
Berkeley
:
University of California Press
,
1981
.
Anderson
Marsten.
The Limits of Realism: Chinese Fiction in the Revolutionary Period
.
Berkeley
:
University of California Press
,
1990
.
Apel
Dora.
Memory Effects: The Holocaust and the Art of Secondary Witnessing
.
New Brunswick, N.J
.:
Rutgers University Press
,
2002
.
Appadurai
Arjun.
Grassroots Globalization and the Research Imagination.
Public Culture
12
, no.
1
(winter
2000
):
3
.
Appadurai
Arjun.
Modernity at Large: Cultural Dimensions of Globalization
.
Minneapolis
:
University of Minnesota Press
,
1996
.
Armes
Roy.
On Video
.
London
:
Routledge
,
1995 [1985]
.
Ashplant
T. G.
, and
Smyth
Gerry
eds.
Explorations in Cultural History
.
London
:
Pluto Press
,
2001
.
Barmé
Geremie R.
In the Red: On Contemporary Chinese Culture
.
New York
:
Columbia University Press
,
1999
.
Baudrillard
J.
Fatal Strategies
London
:
Pluto Press
,
1990
.
Bazin
André.
What Is Cinema?
Vol.
1
.
Berkeley
:
University of California Press
,
1967
.
Bazin
André.
What Is Cinema?
Vol.
II
.
Berkeley
:
University of California Press
,
1971
.
Benjamin
Walter.
The Arcades Project
trans.
Howard
Eiland
and
Kevin
McLaughlin
.
Cambridge, Mass.
:
Belknap Press of Harvard University Press
,
1999
.
Benjamin
Walter.
A Short History of Photography
” [
1931
].
Screen
13
(spring
1993
):
5
26
.
Benjamin
Walter.
Walter Benjamin: Selected Writings
. Vol.
1
:
1913–1926
, ed.
Marcus
Bullock
and
Michael W.
Jennings
.
Cambridge, Mass.
:
Harvard University Press
.
Benjamin
Walter.
The Work of Art in the Age of Mechanic Reproduction.
” In
Illuminations: Essays and Reflections
, ed.
Hannah
Arendt
, trans.
Harry
Zohn
.
New York
:
Schocken
,
1969
.
Berry
Chris.
Chinese Urban Cinema: Hyper-realism versus Absurdism.
East-West Film Journal
3
, no.
1
(
1988
):
76
87
.
Berry
Chris.
Crossing the Wall.
Dox
, no.
13
(
1997
):
14
15
.
Berry
Chris.
East Palace, West Palace: Staging Gay Life in China.
Jump Cut
, no.
42
(
1998
):
84
89
.
Berry
Chris.
A Haunting Presence: Let’s Love Let’s Love Hong Kong.
” In
Hok Yuk: Let’s Love Hong Kong—Script and Critical Essays
, ed.
Yau
Ching
.
Hong Kong
:
Youth Literary Press
,
2003
.
33
37
.
Berry
Chris.
Interview with Duan Jinchuan.
Metro
, no.
113/114
(
1998
):
88
89
.
Berry
Chris.
Race (Minzu): Chinese Film and the Politics of Nationalism.
Cinema Journal
31
, no.
2
(
1992
):
45
58
.
Berry
Chris.
Seeking Truth from Fiction: Feature Films as Historiography in Deng’s China.
Film History
7
, no.
1
(
1995
):
87
99
.
Berry
Chris.
Sexual DisOrientations: Homosexual Rights, East Asian Films, and Post-Modern Post-Nationalism.
In Pursuit of Contemporary East Asian Culture
, ed.
X.
Tang
and
S.
Snyder
.
Boulder
:
Westview Press
,
1996
.
157
82
.
Berry
Chris.
Watching Time Go By: Narrative Distension, Realism, and Postsocialism in Jia Zhangke’s Xiao Wu.
South Atlantic Quarterly
.
Forthcoming
.
Berry
Chris.
Zhang Yuan: Thriving in the Face of Adversity.
Cinemaya
32
(
1996
):
41
.
Berry
Chris
, and
Farquhar
Mary Ann.
Post-Socialist Strategies: An Analysis of Yellow Earth and Black Cannon Incident.
” In
Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan
, ed.
Linda
Ehrlich
and
David
Desser
.
Austin
:
University of Texas Press
,
1994
.
81
116
.
Bloom
Harold.
The Anxiety of Influence: A Theory of Poetry
.
New York
:
Oxford University Press
,
1997 [1975]
.
Blunt
Alison
, and
Gillian
Rose
, eds.
Writing Women and Space: Colonial and Postcolonial Geographies
.
New York
:
Guilford Press
,
1994
.
Boym
Svetlana.
Common Places: Mythologies of Everyday Life in Russia
.
Cambridge, Mass.
:
Harvard University Press
,
1994
.
Boym
Svetlana.
The Future of Nostalgia
.
New York
:
Basic Books
,
2001
.
Braester
Yomi.
Farewell, My Concubine: National Myth and City Memories.
” In
Chinese Films in Focus: Twenty-five New Takes
, ed.
Chris
Berry
.
London
:
British Film Institute
,
forthcoming
.
Braester
Yomi.
‘If We Could Remember Everything, We Would Be Able to Fly’: Taipei’s Cinematic Poetics of Demolition.
Modern Chinese Literature and Culture
15
, no.
1
(spring
2003
).
Braester
Yomi
, and
Zhang
Enhua.
The Future of China’s Memories: An Interview with Feng Jicai.
Journal of Modern Literature in Chinese
5
, no.
2
(
January
2002
):
131
48
.
Brewer
China.
People’s Republic of China.
” In
The Police, Public Order and the State
.
New York
:
St. Martin’s Press
,
1988
.
189
213
.
Bruno
Giuliana.
Streetwalking on a Ruined Map: Cultural Theory and the City Films of Elvira Notari
.
Princeton, N.J.
:
Princeton University Press
,
1993
.
Buck-Morss
Susan.
The Flaneur, the Sandwichman and the Whore: The Politics of Loitering.
New German Critique
39
(fall
1986
):
99
140
.
Cadava
Eduardo.
Words of Light: Theses on the Photography of History
.
Princeton, N.J.
:
Princeton University Press
,
1997
.
Caygill
Howard.
Walter Benjamin: The Colour of Experience
.
London
:
Routledge
,
1998
.
Certeau
Michel de.
The Practice of Everyday Life
.
Berkeley
:
University of California Press
,
1984
.
Chai
Xiaofeng.
Xiaowen ye fengkuang
[Xiaowen too is mad].
Changsha
:
Hunan wenyi chubanshe
,
1997
.
Chen
Lai.
Sixiang chulu de san dongxiang
” [The three directions of solution in thoughts]. In
Zhongguo dangdai wenhua yishi [Cultural consciousness in contemporary China]
, ed.
Gan
Yang
.
Hong Kong
:
Joint Publishing
,
1988
.
Chen
Nancy N.
et al, eds.,
China Urban: Ethnographies of Contemporary Culture
.
Durham, N.C.
:
Duke University Press
,
2001
.
Chen
Xiaoming.
Fenglie de liliang: Cong ‘Yueshi’ kan xindianying de biaoyi celue” [The Power of fission: A look at the ideographic tactics of new films from Lunar Eclipse]
.
Beijing dianying xuebao [Journal of Beijing Film Academy]
, no.
37
(
April
2000
):
40
.
Cheng
Jihua
,
Li
Shaohong
, and
Xin
Zhuwen.
Zhongguo dianying fazhan shi [History of the development of Chinese film]
.
2
vols.
Beijing
:
Zhongguo dianying chubanshe
,
1998
.
Cheng
Qingsong
and
Huang
He
,
Wode sheyingji bu sahuang [My camera doesn’t lie]
.
Beijing
:
Zhongguo youyi chuban gongsi
,
2002
.
Chow
Rey.
A Souvenir of Love.
Modern Chinese Literature
7
(
1993
):
74
75
.
Chute
David.
Beyond the Law.
Film Comment
30
, no.
1
(
1994
):
60
62
.
Clark
Paul.
Chinese Cinema: Culture and Politics since 1949
.
Cambridge, U.K.
:
Cambridge University Press
,
1987
.
Cobley
Paul
, ed.
The Communication Theory Reader
.
London
:
Routledge
,
1996
.
Cui
Shuqin.
Working from the Margins: Urban Cinema and Independent Directors in Contemporary China,
Post Script
20
, nos.
2–3
(
2001
):
77
93
.
Dai
Jinghua.
Imagined Nostalgia.
” In
Postmodernism and China
, ed.
Arif
Dirlik
and
Xudong
Zhang
.
Durham, N.C.
:
Duke University Press
,
2000
.
205
21
.
Dai
Jinghua.
A Scene in the Fog: Reading the Sixth Generation Films.
” In
Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua
, ed.
Jing
Wang
and
Tani E.
Barlow
.
London
:
Verso
,
2002
.
Dai
Jinghua.
Wu zhong fengjing: Zhongguo dianying wenhua 1978–1998., [Spectacles in a fog: Chinese film culture, 1978–1998]
.
Beijing
:
Beijing daxue chubanshe
,
2000
.
Dai
Jinghua.
Xie ta liaowang: Zhongguo dianying wenhua, 1978–1998 [A broad watch from the slanted tower: Chinese film culture, 1978–1998]
.
Taibei
:
Yuanliou
,
1999
.
Dai
Jinghua.
Yingxing shuxie: Jiushi niandai Zhongguo wenhua yanjiu [Invisible writing: Cultural studies of the China of the 90’s]
.
Nanjing
:
Jiangsu renmin chubanshe
,
1999
.
Davis
Deborah
et al, eds.,
Urban Spaces in Contemporary China: The Potential for Autonomy and Community in Post-Mao China
.
New York
:
Cambridge University Press, 1995
.
Davis
Fred.
Yearning for Yesterday: A Sociology of Nostalgia
.
New York
:
Free Press
,
1979
.
Dazhong dianying [Popular cinema]
, ed., “
Xinren xinzuo Yueshi ” [A new work from a newcomer: Lunar Eclipse]
,
Dazhong dianying [Popular cinema]
, no.
4
(
2000
):
12
13
.
Debord
Guy.
La société du spectacle
.
Paris
:
Buchet-Chastel
,
1967
.
De Kloet
Jeroen.
‘Let Him Fucking See the Green Smoke beneath My Groin’: The Mythology of Chinese Rock.
” In
Postmodernism and China
, ed.
Arif
Dirlik
and
Xudong
Zhang
.
Durham, N.C.
:
Duke University Press
,
2000
.
239
74
.
De Lauretis
Teresa.
Rethinking Women’s Cinema: Aesthetics and Feminist Theory.
” In
Multiple Voices in Feminist Film Criticism
, ed.
Diane
Carson
,
Linda
Dittmar
, and
Janice R.
Welsch
.
Minneapolis
:
University of Minnesota Press
,
1994
.
Deleuze
Gilles.
Cinema I: The Movement-Image
, trans.
Hugh
Tomlinson
.
Minneapolis
:
University of Minnesota Press
,
1986
.
Deleuze
Gilles.
Cinema 2: The Time-Image
, trans.
Hugh
Tomlinson
and
Robert
Galeta
.
Minneapolis
:
University of Minnesota Press
,
1989
.
Deleuze
Gilles
, and
Félix
Guattari.
Anti-Oedipus: Capitalism and Schizophrenia
.
Minneapolis
:
University of Minnesota Press
,
1983
.
Deleuze
Gilles
, and
Félix
Guattari.
Kafka: Toward a Minor Literature
, trans.
Dana
Polan.
Minneapolis
:
University of Minnesota Press
,
1986
.
Deng
Guanghui.
Lun 90 niandai Zhongguo dianying de yiyi shengchan” [The production of meaning in 1990s Chinese cinema]
.
Dangdai dianying
, no.
1
(
2001
):
33
39
.
Ding
Renren,
1993 Zhongguo dianying ‘mozhe shitou guohe’ ” [Chinese cinema in 1993: “Crossing the river by feeling the stones”]
.
Beijing ribao [Beijing Daily]
,
January
26 and 31
,
1994
.
Dirlik
Arif
, and
Xudong
Zhang.
Introduction: Postmodernism and China.
boundary 2
24
, no.
3
(
1997
):
1
18
.
Donald
Stephanie Hemelrik.
Public Secret, Public Spaces: Cinema and Civility in China
,
Lanham, Md.
:
Rowman and Littlefield
,
2000
.
Donald
Stephanie Hemelrik.
Women Reading Chinese Films: Between Orientalism and Silence.
Screen
36
, no.
4
(
1995
):
325
40
.
Duan
Yiping,
Gaojihui: Zhongguo chengshi zhongchan jieceng xiezhen [High-grade grey: A portrayal of the Chinese urban middle class]
.
Beijing
:
Zhongguo qingnian chubanshe
,
1999
.
Dutton
Michael.
The End of the Mass Line? Chinese Policing in the Era of the Contract.
Social Justice
27
, no.
2
(
2000
):
61
106
.
Eckholm
Eric.
Feted Abroad, and No Longer Banned in Beijing.
New York Times
.
December
16
,
1999
.
Ehrlich
Linda C.
Courtyards of Shadows and Light.
Cinemaya
37
(
1997
):
8
16
.
Fang
Ke.
Dangdai Beijing jiucheng gengxin: Diaocha, yanjiu, tansuo [Contemporary redevelopment in the inner city of Beijing: Survey, analysis, and investigation]
.
Beijing
:
Zhongguo jianzhu gongye chubanshe
,
2000
.
Feng
Jicai.
Feng Jicai hua Tianjin [Feng Jicai depicts Tianjin]
.
Shanghai
:
Shanghai wenyi chubanshe
,
2000
.
Feng
Jicai.
Jiucheng yiyun: Tianjin lao fangzi [Rhymes left by an old city: Old houses in Tianjin]
.
Tianjin
:
Tianjin Yangliuqing huashe
,
1995
.
Feng
Jicai.
Qiangjiu laojie [Rushing to save an old street]
.
Beijing
:
Xiyuan chubanshe
,
2000
.
Feng
Jicai.
Shouxia liuqing: Xiandai dushi wenhua de youhuan [Show leniency: The predicament of modern urban culture]
.
Shanghai
:
Xuelin chubanshe
,
2000
.
Foucault
Michel.
The History of Sexuality
, trans.
Robert
Hurley.
New York
:
Vintage
,
1990
.
Foucault
Michel.
The Order of Things
.
London
:
Routledge
,
1989
.
Foucault
Michel.
Politics, Philosophy, Culture: Interviews and Other Writings, 1977–1984
, trans.
Alan
Sheridan.
New York
:
Routledge
,
1988
.
Friedberg
Anne.
Window Shopping: Cinema and the Postmodern
.
Berkeley
:
University of California Press
,
1993
.
Fu
Cheng
, “
Bei Ying 2000” [Beijing Film Studio in 2000]
.
Dianying tongxun
, no.
6
(
2000
).
Gateward
Frances
, ed.
Zhang Yimou: Interviews
.
Jackson
:
University Press of Mississippi
,
2001
.
Gladney
Dru C.
Representing Nationality in China: Refiguring Majority/Minority Identities.
Journal of Asian Studies
53
, no.
1
(
1994
):
92
123
.
Gleber
Anke.
The Art of Taking a Walk: Flânerie, Literature, and Film in Weimar Culture
.
Princeton, N.J.
:
Princeton University Press
,
1999
.
Granet
Marcel.
La Pensée chinoise
.
Paris
:
Albin Michel
,
1981
.
Grossman
Andrew.
The Wind Will Carry Us.
Scope: An On-Line Journal of Film Studies
(
May
2001
), http://www.nottingham.ac.uk/film/journal/filmrev/thewind-will-carry-us.htm.
Gu
Zheng.
Women yiqi lai pai dianying ba: Hui wang ‘qingnian shiyan dianying xiaozu’ ” [Let’s make a movie together: A look back at the “Youth Experimental Film Group”]
.
Xianchang [Document]
, vol.
1
, edited by
Wu
Wenguang
.
Tianjin
:
Tianjin shehui kexueyuan chubanshe
,
2000
.
Gunning
Tom.
Tracing the Individual Body: Photography, Detectives, and Early Cinema.
” In
Cinema and the Invention of Modern Life
, ed.
Leo
Charney
and
Vanessa R.
Schwartz
.
Berkeley
:
University of California Press
,
1995
.
15
45
.
Guo
Changmao,
Dianying tizhi gaige yinian deshi tan” [On the gains and losses during a year of reform in the film system]
.
Dianying yishu [Film art]
, no.
5
(
1994
):
66
68
.
Guo
Xiaolu.
Zhongguo xuyao shenmeyang de dianying? Yi ci youguan dianying de diaocha baogao” [What kinds of films does China want? A report on a survey on film]
.
Film Art
, no.
278
(
May
5
,
2001
):
16
23
, 70.
Han
Xiaolei.
Dui diwudai de wenhua tuwei: Houwudai de geren dianying xianxiang” [A cultural breakaway from the Fifth Generation: The phenomenon of individualist film in the post-Fifth Generation]
.
Dianying yishu [Film art]
, no.
2
(
1995
):
58
63
.
Han
Xiaolei.
Tuwei hou de wenhua piaoyi” [Cultural drifting after the breakaway]
.
Dianying yishu [Film art]
, no.
5
(
1999
):
58
65
.
Hansen
Miriam.
Benjamin and Cinema: Not a One-Way Street.
Critical Inquiry
25
, no.
2
(winter
1999
):
306
43
.
Hansen
Miriam.
Fallen Women, Rising Stars, New Horizons: Shanghai Silent Film as Vernacular Modernism.
Film Quarterly
54
, no.
1
(
2000
):
10
22
.
Harootunian
Harry.
History’s Disquiet: Modernity, Cultural Practice, and the Question of Everyday Life
.
New York
:
Columbia University Press
,
2000
.
Henderson
Brian.
Toward a Non-Bourgeois Camera Style.
Film Quarterly
24
, no.
2
(winter
1970–71
):
2
14
.
Hetherington
Kevin.
The Badlands of Modernity: Heterotopia and Social Ordering
.
London
:
Routledge
,
1997
.
Hinsch
Bret.
Passion of the Cut Sleeve: The Male Homosexual Tradition in China
.
Berkeley
:
University of California Press
,
1990
.
Hoberman
J.
Conflict Management.
Village Voice
,
March
2
,
2001
. http://www.villagevoice.com/issues/0110/hoberman.php.
Hoberman
J.
Cults of Personality.
Village Voice
,
March
12–18
,
2003
. http://www.village voice.com/issues/0311/hoberman.php.
Hoberman
J.
Vertigo-a-go-go and More Déjà Viewing: Eternal Return.
Village Voice
,
November
14
,
2000
.
Hong
Jianshe.
Shi!” [Gone!]
.
Xiaofei zhe [Consumer]
, no.
12
(
2000
):
48
49
.
Hu
Die
,
Yinghou shengya: Hu Die huiyi lu [The career of the queen of cinema: Hu Die’s memoir]
.
Hangzhou
:
Zhejiang renmin chubanshe
,
1986
.
Hu
Ke
.
Jingqiao de xushu yishu” [An ingenious art of narration]
. In
Zhongghuo dianying meixue: 1999 [Chinese film aesthetics: 1999]
, ed.
Hu
Ke
et al
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
275
84
.
Hu
Ke
.
The Relationship between the Minority Nationalities and the Han in the Cinema.
” In
Chinese National Minorities Films [Lun Zhongguo Shaoshu Minzu Dianying]
, ed.
Gao
Honghu
et al,
Beijing
:
China Film Press
,
1997
.
205
11
.
Hu
Ke
,
Zhang
Wei
, and
Hu
Zhifeng
, eds.
Dangdai dianying lilun wenxuan [An anthology of contemporary film theory]
.
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
Huang
Du
, ed.
Post-Material: Interpretations of Everyday Life by Contemporary Chinese Artists
.
Beijing
:
World Chinese Arts Publication Company
,
2000
.
Huang
Du
, and
Bingyi
Huang.
Hou wuzhi [The post-material]
.
Beijing
:
Shijie huaren yishu chubanshe
,
2000
.
Huang
Jianxin.
Bu ke tidai de yishu dianying” [The irreplaceable art film]
.
Film Art
, no.
278
(
May
5
,
2001
):
9
11
.
Huang
Jianxin.
Shenghuo jueding le wo de dianying” [Life decided my films]
.
Dangdai dianying [Contemporary cinema]
, no.
4
(
July
1997
):
81
83
.
Huang
Shixian
,
Wenhua zhuanxing: Quanqiuhua qushi yu dianying tizhi gaige (1996–1999)” [Cultural transformation: Globalization and the reform of the film institution (1996–1999)]
.
Spectrums of the Century: Chinese Cinemas 1896–1999
.
Taipei
:
Council for Cultural Affairs and the Chinese Taipei Film Archive
,
2000
.
Huang
Shixian
et al, “
‘Yueshi’: Chufa Zhongguo dianying jianrui huatide xinrui zhi zuo” [Lunar Eclipse: A dashing work of a young director which has sparked a new topic of Chinese cinema]
.
Beijing Dianying xuebao [Journal of the Beijing Film Academy]
, no.
2
(
2000
):
32
.
Insdorf
Annette.
Double Lives, Second Chances: The Cinema of Krzysztof Kieslowski
.
New York
:
Hyperion
,
1999
.
Jaffee
Valerie.
Bringing the World to the Nation: Jia Zhangke and the Legitimation of Chinese Underground Film.
Senses of Cinema
, no.
32
(
July–September
2004
), http://www.sensesofcinema.com/contents/04/32/chinese—underground—film.html.
Jameson
Fredric.
Globalization as a Philosophical Issue.
” In
Cultures of Globalization
, ed.
Fredric
Jameson
and
Masao
Miyoshi.
Durham, N.C.
:
Duke University Press
,
1998
.
Jameson
Fredric.
A Singular Modernity: Essay on the Ontology of the Present
.
London
:
Verso
,
2002
.
Jia
Zhangke.
Cinema with an Accent: Interview with Jia Zhangke, Director of Platform.
” By
Stephen
Teo
.
Senses of Cinema
, no.
15
(
July/August
2001
),http:// www.sensesofcinema.com/contents/01/15/zhangke—interview.html.
Jia
Zhangke.
Fangwen ‘Xiao Wu’ daoyan Jia Zhangke” [Interview with Xiao Wu director Jia Zhangke]
. By
Wu
Wenguang.
Xianchang [Document]
, vol.
1
, ed.
Wu
Wenguang.
Tianjin
:
Tianjin shehui kexueyuan chubanshe
,
2000
.
184
212
.
Jia
Zhangke.
Jia Zhangke fangtan: You yigu qi zhengzai ningju” [Jia Zhangke interview: There’s a puff of vapor that’s now condensing]
.
Nanfang dushi bao [Nanfang metropolitan news]
,
March
4
,
2003
.
Jia
Zhangke.
Jia Zhangke: Keyi shuo shi yi zhong tuoxie” [Jia Zhangke: You can say it ’s a kind of compromise]
.
Qingnian bao [Youth daily]
,
April
15
,
2003
.
Jia
Zhangke.
Jia Zhangke: Zai ‘zhantai’ shang dengdai” [Jia Zhangke: Waiting on the “Platform”]
. By
Cheng
Qingsong
and
Huang
Ou.
In
Wo de sheyingji bu sahuang: Liushi niandai Zhongguo dianying daoyan dang’an [My camera doesn’t lie: Files on the ’60s generation of Chinese film directors]
, ed.
Cheng
Qingsong
and
Huang
Ou.
Beijing
:
Zhongguo youyi chuban gongsi
,
2002
.
341
64
.
Jia
Zhangke.
Jingyan shijiezhong de yingxiang xuanze: Jia Zhangke fangtan lu” [Selecting images in the experiential world: an interview with Jia Zhangke]
. By
Sun
Jianmin.
Jinri xianfeng [Avant-garde today]
12
(
March
2002
):
18
39
.
Jia
Zhangke.
Zhongguo de duli dianying ren” [China’s independent filmmaker]
. In
Dianying chufang: Dianying zai Zhongguo [Film kitchen: Film in China]
, ed.
Wang
Shuo
.
Shanghai
:
Shanghai wenyi chubanshe
,
2001
.
146
63
.
Johnstone
William Crane
Jr.
The Shanghai Problem
.
Westport, Conn.
:
Hyperion Press
,
1973
.
Jones
Andrew F.
Like a Knife: Ideology and Genre in Contemporary Chinese Popular Music
.
Ithaca, N.Y.
:
East Asia Program, Cornell University
,
1992
.
King
Anthony D.
and
Abidin
Kusno
, “
On Be(j)ing in the World: ‘Postmodernism,’ ‘Globalization,’ and the Making of Transnational Space in China.
” In
Postmodernism and China
, ed.
Arif
Dirlik
and
Xudong
Zhang
.
Durham
:
Duke University Press
,
2000
.
Knabb
Ken
, ed. and trans.
Situationist International Anthology
.
Berkeley
:
Bureau of Public Secrets
,
1981
.
Kracauer
Siegfried.
From Dr. Caligari to Hitler: A Psychological History of the German Film
.
Princeton, N.J.
:
Princeton University Press
,
1947
.
Kracauer
Siegfried.
Photography
” [
1927
], trans.
Thomas
Levin
.
Critical Inquiry
19
(spring
1993
):
433
.
Kracauer
Siegfried.
Theory of Film: The Redemption of Physical Reality
[1960].
Princeton, N.J.
:
Princeton University Press
,
1997
.
Krutnik
Frank.
In a Lonely Street: Film Noir, Genre, Masculinity
.
London
:
Routledge
,
1991
.
La Capra
Dominick.
Representing the Holocaust: History, Theory, Trauma
.
Ithaca, N.Y.
:
Cornell University Press
,
1996
.
Lau
Jenny Kwok Wah.
Globalization and Youthful Subculture: The Chinese Sixth Generation Films at the Dawn of the New Century.
” In
Multiple Modernities: Cinemas and Popular Media in Transcultural East Asia
, ed.
Jenny Kwok Wah
Lau
.
Philadelphia
:
Temple University Press
,
2003
.
13
27
.
Lee
Leo Ou-fan.
Shanghai Modern: The Flowering of a New Urban Culture, 1930–1945
.
Cambridge, Mass.
:
Harvard University Press
,
1999
.
Lee
Leo Ou-fan.
The Urban Milieu of Shanghai Cinema, 1930–1940: Some Explorations of Film Audience, Film Culture, and Narrative Conventions.
” In
Cinema and Urban Culture in Shanghai, 1922–1943
, ed.
Yinjing
Zhang.
Stanford, Calif.
:
Stanford University Press
,
1999
.
74
96
.
Lefebvre
Henri.
The Production of Space
, trans.
Donald
Nicholson-Smith.
Oxford
:
Blackwell
,
1991
.
Leyda
Jay.
Dianying
.
Cambridge, Mass
:
mit Press
,
1972
.
Li
Xianting.
Dangdai yishu zhong de sheying meijie re” [The photography craze in contemporary art]
.
Jinri xianfeng [Avant-garde today]
, no.
10
(
January
2001
):
136
47
.
Li
Xingfa,
Ruhe kan Zhongguopian zai guowai huojiang?” [How to view the winning of international awards of Chinese films?]
.
Dangdai dianying
, no.
4
(
1997
):
33
37
.
Lin
Xudong,
interview with Jia Zhangke, “
Yige laizi Zhongguo jicengde minjian daoyan” [A people’s director who comes from the grassroots level of China]
.
Today
, no.
3
(
1999
).
Li
Yan.
wto laile women zenme ban?” [What should we do when wto comes?]
.
Dazhong dianying [Popular Cinema]
, no.
6
(
2000
):
50
55
.
Li
Yiming.
Cong di wu dai dao di liu dai: Jiushi niandai qianqi Zhongguo dalu dianying de yanbian” [From the fifth generation to the sixth generation: Evolutionary changes in Mainland Chinese cinema in the first half of the 1990s]
.
Film Art
1
(
1998
):
15
22
.
Li
Yiming.
Shenme shi dianying?” [What is cinema?]
. In
Jiushi niandai de “Diwudai” [The “Fifth-Generation” of the nineties]
, ed.
Yang
Yuanying
,
Pan
Hua
, and
Zhang
Zhuan.
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
408
46
.
Liao
Yan
, and
Huang
Dongjiang.
Duo jian jingji shiyong fang, ladong fangjia wang xia jiang” [Build more economic practical houses, bring down the price of houses]
.
Chen bao [Beijing morning post]
,
February
7,
2001
,
1
.
Lim
Dennis.
Lou Ye: Generation Next.
Village Voice
,
November
8–14
,
2000
. http://www.villagevoice.com/issues/0045/lim.php.
Lin
Baocheng.
Dalu diliudai daoyan de chuangzuo tiaozhan yu meixue fangxiang” [Artistic challenges and aesthetic orientations of the sixth-generation film directors from the mainland]
.
Dianying xinshang [Film appreciation journal]
(
Taiwan
), no.
105
(fall
2000
):
67
75
.
Lin
Xiaoping.
Discourse and Displacement: Contemplating Beijing’s Urban Landscape.
Art AsiaPacific
, no.
25
(
2000
):
76
81
.
Lin
Xiaoping.
New Chinese Cinema of the ‘Sixth Generation’: A Distant Cry of Forsaken Children.
Third Text
16
, no.
3
(
September
2002
):
261
84
.
Liu
Lydia H.
Beijing Sojourners in New York: Postsocialism and the Question of Ideology in Global Media Culture.
positions
7
, no.
3
(
1999
):
763
97
.
Liu
Lydia H.
Translingual Practice: The Discourse of Individualism between China and the West.
positions
1
, no.
1
(
1993
):
160
93
.
Lo
Kwai-cheng
(Lo Guixiang). “
Hou xiandai zhuyi yu Liang Bingjun ‘you shi’ (jielu)” [Leung Ping-kwan’s Wandering Poems and postmodernism (extract)]
.
Liang Bingjun juan [Leung Ping-kwan collection]
, ed.
Ji
Si
.
Hong Kong
:
Joint Publishing
,
1989
.
Lou
Ye.
Popular Documentary Films.
Beijing Review
41
, no.
26
(
1998
):
28
29
.
Lu
Sheldon H.
China, Transnational Visuality, Global Postmodernity
.
Stanford, Calif.
:
Stanford University Press
,
2001
.
Lu
Wei.
Shuoshuo Zhou Xiaowen” [On Zhou Xiaowen in brief]
. In
90 niandai de “diwudai” [“The fifth generation” in the 1990s]
, ed.
Yang
Yuanying
et al
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
347
58
.
Xiaoming.
90 niandai Zhongguo dianying jingguan zhiyi ‘diliu dai’ jiqi zhiyi” [An inquiry into ‘the sixth generation’ as a Chinese film spectacle in the 1990s]
.
Dianying yishu [Film art]
, no.
3
(
1999
):
23
28
.
Lu
Xiaopeng
(Sheldon H. Lu). “
Gouzao ‘Zhonguo’ de celüe: Xianfeng yishu yu hou dongfang zhuyi” [Strategies of constructing ‘China’: avant-garde art and post-orientalism]
.
Jinri xianfeng [Avant-garde today]
, no.
10
(
January
2001
):
148
61
.
Lu
Xinyu.
Zhongguo xin jilupian yundong [The new documentary film movement in China]
.
Shanghai
:
Shanghai Wenyi Chubanshe
,
2003
.
Lu
Xun.
A Brief History of Chinese Fiction
, trans.
Yang
Hsien-yi
and
Gladys
Yang
.
Beijing
:
Foreign Languages Press
,
1959
.
Ma
Delin.
Meishi touzhe le sheying suibi” [Notes on the cinematography of A Tree in House]
.
Dianying yishu [Film art]
, no.
3
(
1999
):
21
.
Ma
Ning
, “
Satisfied or Not: Desire and Discourse in the Chinese Comedy of the 1960s.
East-West Film Journal
2
, no.
1
(
1987
):
32
49
.
Ma
Ning.
The Textual and Critical Difference of Being Radical: Reconstructing Chinese Leftist Films of the 1930s.
Wide Angle
11
, no.
2
(
1989
):
22
31
.
MacKinnon
Stephen.
A Late Qing-GMD-PRC Connection: Police as an Arm of the Modern Chinese State.
Selected Papers in Asian Studies, New Series
(
Western Conference of the Association for Asian Studies
), no.
14
(
1983
).
MacKinnon
Stephen.
Power and Politics in Late Imperial China: Yuan Shikai in Beijing and Tianjin, 1901–1908
.
Berkeley
:
University of California Press
,
1980
.
Maggio
Meg
, ed.
Gao Brothers (exhibition catalogue)
.
Beijing
:
Courtyard
,
2001
.
Maggio
Meg.
Introduction.
Hong Hao: Scenes from the Metropolis (Jing xiang) (exhibition catalogue)
.
Beijing
:
Courtyard
,
2000
.
McCormick
Elsie.
Audacious Angles on China
.
New York
:
D. Appleton and Company
,
1923
.
Meng
Xianli,
Lun houxiandai yujingxia Zhongguo dianyingde xiezuo” [On Chinese cinematic inscription in the postmodern discursive context]
. In
Dangdai dianying lilun wenxuan [An anthology of contemporary film theory]
, ed.
Hu
Ke
,
Zhang
Wei
, and
Hu
Zhifeng
.
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
Minh-ha
Trinh T.
When the Moon Waxes Red: Representation, Gender and Cultural Politics
.
New York
:
Routledge
,
1991
.
Mittler
Barbara.
Cultural Revolution Model Works and the Politics of Modernization in China: An Analysis of Taking Tiger Mountain by Strategy.
World of Music
(
2003
):
2
.
Moore
Rachel.
Savage Theory: Cinema as Modern Magic
.
Durham, N.C.
:
Duke University Press
,
2000
.
Morales
Alejandro.
Essay: Dynamic Identities in Heterotopia.
” In
Alejandro Morales: Fiction Past, Present, Future Perfect
, ed.
Jose Antonio
Gurpegui
.
Tempe, Ariz.
:
Bilingual Review Press
,
1996
.
Murphey
Rhoads.
Shanghai: Key to Modern China
.
Cambridge, Mass.
:
Harvard University Press
,
1953
.
Ni
Zhen.
Chengshi dianying de wenhua maodun” [Cultural Contradiction in City Films]
. In
Dangdai huayu dianying lunshu [Discussion of contemporary Chinese-language cinema]
, ed.
Li
Tianduo
.
Taipei
:
China Times Press
,
1996
.
227
47
.
Ni
Zhen.
Jishixing dianying he geren fengge de wanshan: ping Minjing gushi ” [The perfection of docu-dramatic film and personal style: A critique of Minjing gushi]
. In
Jiushi nidai de “diwudai” [The “Fifth-Generation” of the Nineties]
, ed.
Yang
Yuanying
,
Pan
Hua
, and
Zhang
Zhuan
.
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
427
33
.
Ni
Zhen.
Shouwang xinsheng dai” [Expectations for the Newborn Generation]
.
Dianying yishu [Film art]
, no.
4
(
1999
):
70
73
.
Nichols
Bill.
Frederick Wiseman’s Documentaries: Theory and Structure.
” In
Ideology and the Image
.
Bloomington
:
University of Indiana Press
,
1981
.
208
36
.
Oura
Kanetake,
The Police of Japan.
” In
Fifty Years of New Japan
, vol.
1
, ed.
Okuma
Shigenobu
.
New York
:
Kraus
,
1970
.
281
95
.
Palmer
Augusta.
Crossroads: Nostalgia and the Documentary Impulse in Chinese Cinemas of the 1990s.
” diss Ph.D.,
New York University
,
2004
.
Pang
Laikwan.
Building a New China in Cinema: The Chinese Left-wing Cinema Movement, 1932–1937
.
Lanham, Md.
:
Rowman and Littlefield
,
2002
.
Petro
Patrice
ed.,
Fugitive Images: From Photography to Video
.
Bloomington
:
Indiana University Press
,
1995
.
Pickowicz
Paul G.
Huang Jianxin and the Notion of Postsocialism.
” In
New Chinese Cinemas: Forms, Identities, Politics
, ed.
Nick
Browne
,
Paul
Pickowicz G.
,
Vivian
Sobchack
, and
Esther
Yau
.
New York
:
Cambridge University Press
,
1994
.
57
87
.
Pickowicz
Paul G.
Melodramatic Representation and the ‘May Fourth’ Tradition of Chinese Cinema.
” In
From May Fourth to June Fourth: Fiction and Film in Twentieth-Century China
, ed.
Ellen
Widmer
and
David
Der-wei Wang
.
Cambridge, Mass.
:
Harvard University Press
,
1993
.
Pickowicz
Paul G.
Velvet Prisons and the Political Economy of Chinese Filmmaking.
” In
Urban Spaces in Contemporary China: The Potential for Autonomy and Community in Post-Mao China
, ed.
Deborah
Davis
,
Richard
Kraus
,
Barry
Naughton
, and
Elizabeth
Perry
.
New York
:
Cambridge University Press
,
1995
.
193
220
.
Pomfret
John.
From China’s Feng Xiaogang, a ‘Sigh’ of the Times: Filmmaker Skirts the Censors—and Western Expectations.
Washington Post
,
October
15
,
2000
.
Price
Mary.
The Photograph: A Strange Confined Space
.
Stanford, Calif.
:
Stanford University Press
,
1994
.
Quiquemelle
Marie-Claire
, and
Jean-Loup
Passek
, eds.
Le Cinéma chinois
.
Paris
:
Centre Georges Pompidou
,
1985
.
Rao
Shuoguang
,
Shehui/wenhua zhuanxing yu dianyingde fenghua jiqi zhenghe” [Socio-cultural transformation and the fragmentation and reintegration of cinema]
.
Dangdai dianying
, no.
1
(
2000
).
Rayns
Tony.
Chinese Vocabulary: An Introduction to King of the Children and the New Chinese Cinema.
” In
King of the Children and the New Chinese Cinema
, ed.
Chen
Kaige
and
Tony
Rayns
.
London
:
Faber and Faber
,
1989
.
1
58
.
Rayns
Tony.
Provoking Desire.
Sight and Sound
(
July
1988
):
47
48
.
Reynaud
Bérénice.
Gay Overtures: Zhang Yuan’s East Palace, West Palace.
Cinemaya
36
(
1997
):
31
33
.
Reynaud
Bérénice.
New Visions/New Chinas: Video—Art, Documentation, and the Chinese Modernity in Question.
” In
Resolutions: Contemporary Video Practices
, ed.
Michael
Renov
and
Erika
Suderburg
.
Minneapolis
:
University of Minnesota Press
,
1996
.
229
57
.
Reynaud
Bérénice.
Nouvelles chines, nouveaux cinémas
.
Paris
:
Cahiers du cinéma
,
1999
.
Rodowick
D. N.
Gilles Deleuze’s Time Machine
.
Durham, N.C.
:
Duke University Press
,
1997
.
Rosen
Stanley.
‘The Wolf at the Door’: Hollywood and the Film Market in China from 1994–2000.
” In
Southern California in the World and the World in Southern California
, ed.
Eric J.
Heikkila
and
Rafael
Pizarro
.
Westport, Conn.
:
Greenwood
,
forthcoming
.
Rosenbaum
Jonathan.
Critic’s Choice: Platform.
Chicago Reader
,
May
17
,
2002
.
Rothberg
Michael.
Traumatic Realism: The Demands of Holocaust Representation
.
Minneapolis
:
University of Minnesota Press
,
2000
.
Ruiz
Raul.
Poetics of Cinema: Miscellanies
, trans.
Brian
Holmes
.
Paris
:
Dis Voir
,
1995
.
Sassen
Saskia.
The Global City: New York, London, Tokyo
.
Princeton, N.J.
:
Princeton University Press
,
1996
.
Sassen
Saskia.
Globalization and Its Discontents
.
New York
:
Free Press
,
1998
.
Schrader
Paul.
Notes on Film Noir.
” In
Film Genre Reader II
, ed.
Barry
Keith Grant.
Austin
:
University of Texas Press
,
1995
.
Schwartz
Hillel.
The Culture of the Copy: Striking Likeness, Unreasonable Facsimiles
.
New York
:
Zone Books
,
1996
.
Shaviro
Steve.
The Cinematic Body
.
Minneapolis
:
University of Minnesota Press
,
1993
.
Shen
Yun.
Guan yu ‘Zhao le’ he “‘Minjing gushi’” [About For Fun and On the Beat]
. In
Jiushi niandai de “Diwudai” [The “Fifth-Generation” of the nineties]
, ed.
Yang
Yuanying
,
Pan
Hua
, and
Zhang
Zhuan
.
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
395
407
.
Shen
Yun.
Guanyu Zhaole he Minjing gushi—Yu Ning Ying de Fangtan” [On For Fun and On the Beat—An interview with Ning Ying]
.
Dangdai dianying
, no.
3
(
1996
):
33
38
.
Shield
Rob.
Fancy Footwork: Walter Benjamin’s Notes on Flânerie.
” In
The Flâneur
, ed.
Keith
Tester
.
London
:
Routledge
,
1994
.
Silbergeld
Jerome.
Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China’s Moral Voice
.
Seattle
:
University of Washington Press
,
2004
.
Spaas
Lieve.
Center, Periphery and Marginality in the Films of Alain Tanner.
” In
Spaces in European Cinema
, ed.
Myrto
Konstantarakos
.
Exeter, U.K.
:
Intellect
,
2000
.
152
65
.
Stam
Robert.
Film Theory: An Introduction
.
Malden, Mass.
:
Blackwell
,
2000
.
Su
Xiaokang.
A History of Misfortune
, trans.
Zhu
Hong
.
New York
:
Knopf
,
2001
.
Su
Xiaokang
, and
Wang
Luxiang.
Deathsong of the River: A Reader’s Guide to the Chinese tv Series Heshang
, trans.
Richard W.
Bodman
and
P.
Wan
.
Ithaca, N.Y.
:
East Asia Program, Cornell University
,
1991
.
Sullivan
Gerard
, and
Peter
A. Jackson
, eds.
Gay and Lesbian Asia: Culture, Identity, Community
.
New York
:
Haworth Press
:
2001
.
Tang
Xianzu.
The Peony Pavilion
, trans.
Cyril
Birch.
Bloomington
:
Indiana University Press
,
1980
.
Tang
Xiaobing.
Chinese Modern: The Heroic and the Quotidian
.
Durham, N.C.
:
Duke University Press
,
2000
.
Tang
Ye
, “
From the Fifth to the Sixth Generation: An Interview with Zhang Yimou,
Film Quarterly
53
, no.
2
(winter
1999
):
12
.
Wakeman
Frederic
Jr.
Policing Shanghai, 1927–1937
.
Berkeley
:
University of California Press
,
1995
.
Wang
Anyi.
Chang hen ge
.
Hong Kong
:
Cosmos
,
1996
.
Wang
Jing.
Heshang and the Paradoxes of the Chinese Enlightenment.
” In
High Culture Fever: Politics, Aesthetics, and Ideology in Deng’s China
.
Berkeley
:
University of California Press
,
1996
.
118
36
.
Wang
Jing
, and
Tani
Barlow
, eds.
Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua
.
London
:
Verso
,
2002
.
Wang
Shuo.
Feu et glace
.
Arles
:
Editions Philippe Picquier
,
1995
.
Wang
Shuo.
Je suis ton papa
.
Paris
:
Flammarion
,
1997
.
Wang
Shuo.
Playing for Thrills
.
New York
:
Penguin Book
,
1998
.
Wang
Shuo.
Please Don’t Call Me Human
.
New York
:
Hyperion
,
2000
.
Wang
Xiaobo.
L’âge d’or
.
Versailles
:
éd. du Sorgho
,
2001
.
Wang
Xiaoming.
Banzhanglian de shenhua [Myth of the half-faced portrait]
.
Guangdong
:
Nanfang ribao chubanshe
,
2000
.
Wei
Hui.
Shanghai Baby
, trans.
Bruce
Hume
.
New York
:
Pocket Books
,
2001
.
White
Jerry.
The Films of Ning Ying: China Unfolding in Miniature.
Cineaction
42
(
1997
):
2
9
.
Wilson
Elizabeth.
The Invisible Flaneur.
New Left Review
191
(
1992
):
90
110
.
Wu
Guanping.
Fang qingnian daoyan Lu Xuechang” [An interview with young director Lu Xuechang]
.
Dianying yishu [Film art]
no.
4
(
2000
):
61
65
.
Wu
Hung.
The Hong Kong Clock: Public Time-Telling and Political Time/ Space.
Public Culture
9
, no.
3
(spring
1997
):
329
54
.
Wu
Hung.
Transience: Chinese Experimental Art at the End of the Twentieth Century
.
Chicago
:
University of Chicago Press
,
1999
.
Wu
Wenguang.
Bumming in Beijing—The Last Dreamers.
” In
The Twentieth Hong Kong International Film Festival
, ed.
Urban Council. Hong Kong
:
Urban Council
,
1996
.
130
.
Wu
Wenguang.
Fangwen Xiao Wu daoyan Jia Zhangke” [An interview with Jia Zhangke, director of Xiao Wu]
. In
Xianchang [Document]
, ed.
Wu
Wenguang
(
Tianjing
:
Tianjing shehui kexueyuan chubanshe
,
2000
).
Wu
Wenguang.
Just on the Road: A Description of the Individual Way of Recording Images in the 1990s.
” In
Reinterpretation: A Decade of Experimental Chinese Art 1900–2000
, ed.
Wu
Hung
et al
Guangzhou
:
Guangdong Museum of Art
,
2002
.
Wu
Zuguang
,
Huang
Zuolin
, and
Mei
Shaowu.
Peking Opera and Mei Lanfang
.
Beijing
:
New World Press
,
1984
.
Xie
Fei.
Dui nianqing daoyan men de san dian kanfa” [Three views on the young directors]
.
Film Art
, no.
270
(
January
5
,
2000
):
12
14
.
Yang
Mayfair Mei-hui.
Mass Media and Transnational Subjectivity in Shanghai: Notes on (Re)Cosmopolitanism in a Chinese Metropolis.
” In
Ungrounded Empires: The Cultural Politics of Modern Chinese Transnationalism
, ed.
Donald M.
Nonini
and
Aihwa
Ong
.
New York
:
Routledge
,
1997
.
287
319
.
Yang
Yuanying.
Conversations with Ning Ying.
” In
Their Voices: Autobiographies of Chinese Women Directors
.
Beijing
:
Zhongguo shehui chuban
,
1996
.
Yangzi
,
“Fengge yizhong, huo qita” [A style, or something else]
.
Shijian shouce
, no.
4
(
2001
).
Yau
Ching
, ed.
Hok Yuk: Let’s Love Hong Kong—Script and Critical Essays
.
Hong Kong
:
Youth Literary Press
,
2003
.
Yau
Esther C. M.
Is China the End of Hermeneutics? Or, Political and Cultural Usage of Non-Han Women in Mainland Chinese Films.
Discourse
11
, no.
2
(
1989
):
115
38
.
Yee
Frank Ki Chun.
Police in Modern China.
” diss Ph.D.,
University of California
,
Berkeley
,
1942
.
Yin
Hong.
Chengren yishi: Quanwei yizhi yu dongfang zhuyi de shutu tonggui” [A rite of passage: The convergence of authoritarianism and Orientalism]
. In
Zhongghuo dianying meixue: 1999 [Chinese film aesthetics: 1999]
, ed.
Hu
Ke
et al
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
302
10
.
Yin
Hong.
Shiji zhi jiao: Jiushi niandai zhongguo dianying beiwang” [The turn of the century: Memo on Chinese cinema in the nineties]
. In
Bainian Zhongguo dianying lilun wenxuan [Selected works of one-hundred years of Chinese film theory]
, ed.
Ding
Yaping
.
Beijing
:
Wenhua yishu chubanshe
,
2002
.
2
:
658
89
.
Yin
Hong.
Zai jiafeng zhong zhangda: Zhongguo dalu xinsheng dai de dianying shijie” [Growing up between the fissures: The film world of the Newborn generation]
.
Ershiyi shiji
49
(
October
1998
):
88
93
.
Yu
Aiyuan.
Tuwei, taoli, luowang” [Breakthrough, escape, ensnarement]
.
Jinri xianfeng [Avant-garde today]
12
(
March
2002
):
39
.
Yu
Meiying.
Qunian Beijing shangpin fang mai le 230 yi” [Last year commodity houses worth 23 billion yuan were sold in Beijing]
.
Beijing qingnian bao [Beijing youth daily]
,
February
13
,
2001
,
34
.
Yu
Yunke.
Toufa luanle? Mei luan!” [Disheveled hair? No!]
.
Dazhong dianying [Popular cinema]
no.
1
(
1995
):
32
33
.
Zeitlin
Judith.
Embodying the Disembodied: Representation of Ghosts and the Feminine.
” In
Writing Women in Late Imperial China
, ed.
Ellen
Widmer
and
Kang-I Sun
Chang
.
Stanford
:
Stanford University Press
,
1997
.
Zhang
Jianqun
, “
Jia Zhangke kewang zhuliu: Haishi xian pai heibang pian” [Jia Zhangke seeks the mainstream: Will shoot a gangster film first]
.
Qingnian bao (Youth daily)
,
April
15
,
2003
.
Zhang
Jinggan.
Beijing guihua jianshe zongheng tan [On Beijing’s urban planning and construction]
.
Beijing
:
Beijing Yanshan chubanshe
,
1997
.
Zhang
Jinggan.
Beijing guihua jianshe wushi nian [Fifty years of urban planning and development in Beijing]
.
Beijing
:
Zhongguo shudian
,
2001
.
Zhang
Nuanxin
, and
Li
Tuo.
Tan dianying yuyan de xiandaihua” [On the modernization of cinematic language]
. In
Bainian Zhongguo dianying lilun wenxuan [Selected works of one hundred years of Chinese film theory]
, ed.
Ding
Yaping
.
Beijing
:
Wenhua yishu chubanshe
,
2002
.
2
:
10
36
.
Zhang
Xudong.
Chinese Modernism in the Era of Reforms: Cultural Fever, Avantgarde Fiction, and the New Chinese Cinema
.
Durham, N.C.
:
Duke University Press
,
1997
.
Zhang
Xudong.
Epilogue: Postmodernism and Post-Socialist Society—Historicizing the Present.
” In
Postmodernism and China
, ed.
Arif
Dirlik
and
Xudong
Zhang
.
Durham, N.C.
:
Duke University Press
,
2000
.
399
442
.
Zhang
Xudong.
, ed.
Whither China? Intellectual Politics in Contemporary China
.
Durham, N.C.
:
Duke University Press
,
2001
.
Zhang
Yibai.
Tongwang chuntian de wuge zhantai” [Five platforms in the subway to spring]
. In
Dianying yishu [Film art]
, no.
6
(
2002
):
76
78
.
Zhang
Yingjin.
Chinese National Cinema
.
London
:
Routledge
,
2004
.
Zhang
Yingjin.
From ‘Minority Film’ to ‘Minority Discourse’: Questions of Nationhood and Ethnicity in Chinese Cinema.
” In
Transnational Chinese Cinemas: Identity, Nationhood, Gender
, ed.
Sheldon Hsiao-peng
Lu
.
Honolulu
:
University of Hawaii Press
,
1997
.
81
104
.
Zhang
Yingjin.
Narrative, Ideology, Subjectivity: Defining a Subversive Discourse in Chinese Reportage.
” In
Politics, Ideology and Literary Discourse in Modern China: Theoretical Interventions and Cultural Studies
, ed.
Liu
Kang
and
Xiaobing
Tang
.
Durham, N.C.
:
Duke University Press
,
1993
.
211
42
.
Zhang
Yingjin.
Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in Contemporary Chinese Cinema
.
Ann Arbor
:
Center for Chinese Studies, University of Michigan
,
2002
.
Zhang
Yiwu.
Fazhan de xiangxiang: 1990–1994 Zhongguo dalu leixing dianying” [Imaginations on development: Genre films in Mainland China in 1990–1994]
.
Film Art
, no.
264
(
January
10
,
1999
),
68
72
.
Zhang
Yiwu.
Hou xinshiqi: Xinde wenhua kongjian” [Post–New Era: A new cultural space]
.
Wenyi zhengmin
, no.
6
(
1992
):
9
12
.
Zhang
Yiwu.
Hou xinshiqi Zhongguo dianying: Fenglie de tiaozhan” [Chinese cinema of the Post–New Era: The challenge of fragmentation]
.
Dangdai dianying
, no.
5
(
1994
):
4
11
.
Zhang
Yiwu.
Zaidu xiangxiang Zhongguo: Quanqiuhua de tiaozhan yu xin de ‘neixianghua’ ” [Re-imagining China: The challenge of globalization and the new “inward turn”]
.
Dianying xinshang [Film appreciation journal]
(
Taiwan
), no.
105
(fall
2000
):
35
43
.
Zhang
Zhen.
An Amorous History of the Silver Screen: Shanghai Cinema, 1896–1937
.
Chicago
:
University of Chicago Press
,
2005
.
Zhang
Zhen.
Mediating Time: The ‘Rice Bowl of Youth’ in Fin de Siècle Urban China.
Public Culture
12
, no.
1
(
2000
):
93
113
.
Zhang
Zhen.
Teahouse, Shadowplay, Bricolage: Laborer’s Love and the Question of Early Chinese Cinema.
” In
Cinema and Urban Culture in Shanghai, 1922–1943
, ed.
Yingjin
Zhang
.
Stanford
:
Stanford University Press
,
1999
.
Zhang
Zhen.
Zhang Yuan.
” In
Fifty Contemporary Filmmakers
, ed.
Yvonne
Tasker
.
London
:
Routledge
,
2002
.
Zheng
Guoen
, and
Hong
Qi.
Jiadingxing zhong xunqiu zhenshigan” [Seeking a sense of reality from a false assumption]
. In
Zhongghuo dianying meixue: 1999 [Chinese film aesthetics: 1999]
, ed.
Hu
Ke
et al
Beijing
:
Beijing guangbo xueyuan chubanshe
,
2000
.
292
96
.
Zhong
Dafeng
,
Zhang
Zhen
, and
Yingjin
Zhang.
From Wenmingxi (Civilized Play) to Yingxi (Shadow Play): The Foundation of Shanghai Film Industry in the 1920s.
Asian Cinema
9
, no.
1
(fall
1997
):
46
64
.
Zhong
Xueping.
Masculinity Besieged? Issues of Modernity and Male Subjectivity in Chinese Literature of the Late Twentieth Century
.
Durham, N.C.
:
Duke University Press
,
2000
.
Zhong
Xueping
,
Wang
Zheng
, and
Bai
Di
, eds.
Some of Us: Chinese Women Growing Up in the Mao Era
.
New Brunswick, N.J.
:
Rutgers University Press
,
2001
.
Zhongguo
dianying nianjian she
ed.
1997 Zhongguo dianying nianjian [1997 China film book]
.
Beijing
:
Zhongguo dianying nianjian she
,
1998
.
Zhou
Jiawang.
Xin diming Beijingren zhao bu zhao” [Beijingers can’t find the new place names]
.
Beijing wanbao [Beijing evening news]
,
March
22
,
2001
,
1
.
Zhu
Xiaoyi.
Zhongguo xianfeng yishu zhi huigu ji jiushi niandai Zhongguo xianfeng dianying” [A retrospective on the Chinese avant-garde art and the Chinese avant-garde films in the 1990s]
.
Film Art,
no.
276
(
January
5
,
2001
):
79
87
.
Zhu
Yujun
,
Xiandai dianshi jishi [Contemporary television documentaries]
.
Beijing
:
Beijing Guangbo xueyuan chubanshe
,
2000
.
Zou
Yiren.
Jiu Shanghai renkou bianqian de yanjiu [Research on Population Changes in Old Shanghai]
.
Shanghai
:
Shanghai renmin chubanshe
,
1980
.
Close Modal

or Create an Account

Close Modal
Close Modal