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The Cinema of Hong Kong
This volume examines Hong Kong cinema in transnational, historical, and artistic contexts.
China Forever
The transnational history and cultural politics of the Shaw Brothers' movie empire
Suzhou
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The Cold War and Asian Cinemas
This book offers an interdisciplinary, historically grounded study of Asian cinemas’ complex responses to the Cold War conflict. It situates the global ideological rivalry within regional and local political, social, and cultural processes, while offering a transnational and cross-regional focus. This volume makes a major contribution to constructing a cultural and popular cinema history of the global Cold War. Its geographical focus is set on East Asia, Southeast Asia, and South Asia. In adopting such an inclusive approach, it draws attention to the different manifestations and meanings of the connections between the Cold War and cinema across Asian borders. Many essays in the volume have...
Constructing Nationhood in Modern East Asia
A cutting-edge collection exploring identity-making in East Asia This is an interdisciplinary study of the cultural politics of nationalism and national identities in modern East Asia. Combining theoretical insights with empirical research, it explores the cultural dimensions of nationhood and identity-making in China, Japan, Korea, Hong Kong, and Taiwan. The essays address issues ranging from the complex relations between popular culture and national consciousness to the representation of ethnic/racial identity and gendered discourse on nationalism. The cutting-edge research on the diverse forms of cultural preacceptance and the various ways in which this participates in the construction an...
Between Shanghai and Hong Kong
A pioneering study of the Chinese cinemas in Shanghai and Hong Kong and the complex connections between them during the period of war, occupation, and civil war.
Maiden Voyage
Japanese from varied domains, as well as shogunal officials, Nagasaki merchants, and an assortment of deck hands, made the voyage along with a British crew, spending a total of ten weeks observing and interacting with the Chinese and with a handful of Westerners. Roughly a dozen Japanese narratives of the voyage were produced at the time, recounting personal impressions and experiences in Shanghai. The Japanese emissaries had the distinct advantage of being able to communicate with their Chinese hosts by means of the "brush conversation" (written exchanges in literary Chinese). For their part, the Chinese authorities also created a paper trail of reports and memorials concerning the Japanese visitors, which worked its way up and down the bureaucratic chain of command. This was the first official meeting of Chinese and Japanese in several centuries.
Dangerous Pleasures
This pioneering work examines prostitution in Shanghai from the late nineteenth century to the present. Drawn mostly from the daughters and wives of the working poor and declassé elites, prostitutes in Shanghai were near the bottom of class and gender hierarchies. Yet they were central figures in Shanghai urban life, entering the historical record whenever others wanted to appreciate, castigate, count, regulate, cure, pathologize, warn about, rescue, eliminate, or deploy them as a symbol in a larger social panorama. Over the past century, prostitution has been understood in many ways: as a source of urbanized pleasures, a profession full of unscrupulous and greedy schemers, a changing site ...
Revolution and Form
In Revolution and Form, Jianhua Chen offers a detailed analysis of several early works by Mao Dun, focusing in particular on their engagement with themes of modernity and revolution, gender and desire. One of the leading authors of the early twentieth century May Fourth period, Mao Dun had a complicated relationship with both the Communist Party and the women’s liberation movement, and his fictional works reflect these twin concerns with revolution and gender. Chen’s study examines Mao Dun’s early fiction in relationship to the biographical and historical conditions under which it was produced. Translated by Max Bohnenkamp, Todd Foley, FU Poshek, Nga Li LAM, LI Meng, and Carlos Rojas.
