The Cinema of Feng Xiaogang: Commercialization and Censorship in Chinese Cinema after 1989Hong Kong University Press, 2008年9月1日 - 204 頁 Beginning first as a case study of Feng Xiaogang, this book explores Chinese film history since the early 1990s in terms of changes of the Communist Party's film policy, industry reforms, the official promotion of Main Melody films and the emergence and growth of popular cinema. The image of Feng that will emerge in this book is of a filmmaker working under political and economic pressures in a post-socialist state while still striving to create works with a personal socio-political agenda. In keeping with this reality, this book approaches Feng as a special kind of film auteur whose works must be interpreted with attention to the specific social and political context of contemporary China. The book will be a useful reference tool for students and scholars in the fields of Chinese studies, Chinese film history and film studies. It could also be used as textbook for classes about Asian cinema, international cinema and Chinese culture/film studies. The extensive use of data about the Chinese film market, and elaborate analysis of the situation of Chinese film industry make this book a valuable volume for classroom and personal use. |
內容
| 1 | |
2 Chinese Cinema on the Eve of the Tiananmen Incident | 21 |
3 Chinese Cinema from 1989 to the Middle of the 1990s and Feng Xiaogangs Early Career | 33 |
4 New Year Films and Chinese Cinema at the End of the 1990s | 63 |
5 The Corporate Era of Chinese Cinema in the New Millennium and Fengs PostNew Year Production | 103 |
6 Conclusion | 153 |
Notes | 159 |
Filmography | 177 |
| 181 | |
Index | 193 |
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常見字詞
audiences Banquet became Beijing Film Studio Big Shot’s Funeral big shots blockbuster Cell Phone censors censorship Chen Kaige China Chinese cinema Chinese film Chinese filmmakers Chinese society comedy commentary commercialization Communist contemporary Chinese criticism Cultural Revolution cynical depictions document domestic film Dream economic entertainment films Feng Xiaogang Feng’s career Feng’s films film film authorities film censorship film industry film market film officials film policy filmmakers foreign genre Gone Forever Hong Kong ideological control industry reform investors issues Jia Zhangke Liang little characters Liu Yuan main melody films Mao Zedong million movie theaters MRFT nian Ningde ofthe Party people’s political popular cinema private film profit protagonists Qing rating system SARFT scene script scriptwriter Shanghai Shuo’s social socialist Sorry Baby state-owned studios style Taylor’s Tian’anmen Incident TV drama urban Wang Shuo Wang’s World Without Thieves Xie Jin yishu ZGDYN Zhang Yimou Zheng Xiaolong Zhongguo dianying