Lynn Spigel

Chris Berry

So-yŏng Kim

Media, Technology, and the Experience of Social Space

Electronic Elsewheres

Laikwan Pang

Tani Barlow

Wang Hui

L. H. M. Ling

Celia Lowe

Hiroko Sakamoto

Ashley Carruthers

Kun Jong Lee

Suk-Jung Han

A special edition of positions: asia critique

Intellectuals and Social Movements

Mary Ann Farquhar

In China on Screen, Chris Berry and Mary Farquhar, leaders in the field of Chinese film studies, explore more than one hundred years of Chinese cinema and nation. Providing new perspectives on key movements, themes, and filmmakers, Berry and Farquhar analyze the films of a variety of directors and actors, including Chen Kaige, Zhang Yimou, Hou Hsiao Hsien, Bruce Lee, Jackie Chan, Maggie Cheung, Gong Li, Wong Kar-wai, and Ang Lee. They argue for the abandonment of "national cinema" as an analytic tool and propose "cinema and the national" as a more productive framework. With this approach, they show how movies from China, Hong Kong, Taiwan, and the Chinese diaspora construct and contest different ideas of Chinese nation -- as empire, republic, or ethnicity, and complicated by gender, class, style, transnationalism, and more. Among the issues and themes covered are the tension between operatic and realist modes, male and female star images, transnational production and circulation of Chinese films, the image of the good foreigner -- all related to different ways of imagining nation. Comprehensive and provocative, China on Screen is a crucial work of film analysis.

Cinema and Nation

China on Screen

25 New Takes

Chinese Films in Focus

Tough Season

Vivienne Lo

Guo Liping

Film and the Chinese Medical Humanities is the first book to reflect on the power of film in representing medical and health discourse in China in both the past and the present, as well as in shaping its future. Drawing on both feature and documentary films from mainland China, the chapters each engage with the field of medicine through the visual arts. They cover themes such as the history of doctors and their concepts of disease and therapies, understanding the patient experience of illness and death, and establishing empathy and compassion in medical practice, as well as the HIV/AIDs epidemic during the 1980s and 90s and changing attitudes towards disability. Inherently interdisciplinary in nature, the contributors therefore provide different perspectives from the fields of history, psychiatry, film studies, anthropology, linguistics, public health and occupational therapy, as they relate to China and people who identify as Chinese. Their combined approaches are united by a passion for improving the cross-cultural understanding of the body and ultimately healthcare itself. A key resource for educators in the Medical Humanities, this book will be useful to students and scholars of Chinese Studies and Film Studies as well as global health, medical anthropology and medical history.

Film and the Chinese Medical Humanities

Fran Martin

Audrey Yue

DIVA collection of essays on the uses of new media in the formation of East Asian and Pacific queer identities./div

New Media in Queer Asia

Mobile Cultures

Chinese cinema continues to go from strength to strength. After art-house hits like Chen Kaige's Yellow Earth (1984) and Wong Kar-wai's In the Mood for Love (2000), the Oscar-winning success of Ang Lee's Crouching Tiger Hidden Dragon (2000) disproved the old myth that subtitled films could not succeed at the multiplex. Chinese Films in Focus II updates and expands the original Chinese Films in Focus: 25 New Takes with fourteen brand new essays, to offer thirty-four fresh and insightful readings of key individual films. The new edition addresses films from mainland China, Taiwan, Hong Kong and other parts of the Chinese diaspora and the historical coverage ranges from the 1930s to the present. The essays, by leading authorities on Chinese cinema as well as up-and-coming scholars, are concise, accessible, rich, and on the cutting edge of current research. Each contributor outlines existing writing and presents an original perspective on the film, making this volume a rich resource for classroom use, scholarly research and general reading for anyone wanting to understand more about the historical development and rich variety of Chinese cinema. Contributors: Annette Aw, Chris Berry, Yomi Braester, Felicia Chan, Esther Cheung, Robert Chi, Rey Chow, Mary Farquhar, Carolyn FitzGerald, Ping Fu, Kristine Harris, Margaret Hillenbrand, Brian Hu, Tan See Kam, Haiyan Lee, Vivian Lee, Helen Hok-Sze Leung, David Leiwei Li, Song Hwee Lim, Kam Louie, Fran Martin, Jason McGrath, Corrado Neri, Jonathan Noble, Beremoce Reynaud, Cui Shuqin, Julian Stringer, Janice Tong, Yiman Wang, Faye Hui Xiao, Gang Gary Xu, Audrey Yue, Yingjin Zhang, John Zou The Editor: Chris Berry is Professor of Film and Television at Goldsmiths, University of London.

Chinese Films in Focus II

"Bana" means sacred and "Kuma" means altering. Bana Kuma explores the unique human gift of manifesting a thought into reality; with the four elements as our guide. The archetypes, stories, music and wisdom offerings in this book promote the intentional enabling of our most expansive selves to create our highest visions. Exciting additions to this edition include drum and mbira descriptions, techniques and notations for each archetype!

Book of Bana Kuma (with Music)

"Bana" means sacred and "Kuma" means altering. Bana Kuma explores the unique human gift of manifesting a thought into reality; with the four elements as our guide. The archetypes, stories, music, and wisdom offerings in this book promote the intentional enabling of our most expansive selves to create our highest visions.

Wisdom, Music, Mythology and Art Offered Towards the Mastery of Your Reality

Book of Bana Kuma

Chinese cinema is the only non-English language cinema to have a significant global presence. From multiplex blockbusters like Ang Lee's Crouching Tiger, Hidden Dragon to festival hits such as Jia Zhangke's Still Life, Chinese cinema succeeds like no other foreign-language cinema. The interdisciplinary field of Chinese Cinema Studies has boomed alongside these developments and, today, no Asian Studies, Chinese Studies, or Film and Media Studies programme is complete without courses that cover Chinese cinema, including the cinemas of the People's Republic of China, Hong Kong, Taiwan, and the wider Chinese diaspora. While research in and around Chinese cinema flourishes as never before, not least because of its highly interdisciplinary nature, much of the relevant literature remains inaccessible or is highly specialized and compartmentalized, so that it is difficult for many of those who are interested in the subject to obtain an informed, balanced, and comprehensive overview. This new four-volume collection from Routledge's acclaimed series, Critical Concepts in Media and Cultural Studies, addresses that problem and meets the need for a reference work to help make sense of the subject's vast and widely dispersed literature, and the continuing explosion in research output. The materials gathered by the editor, a leading scholar in the field, include major works that explore: aesthetics through key films and directors; film cultural practices, such as consumption, distribution, exhibition, reception and criticism; production practices, for instance, genres, stars, studio structures, and marketing; and cinema's connection to society and its relationship to issues such as the nation-state, revolution, and gender. The collection's temporal scope extends from the arrival of cinema via the Lumière Brothers in 1895 to the present day, and it ranges widely across all territories to include full coverage of the films produced by the ethnic Chinese diaspora. Chinese Cinema is supplemented by a full index and chronological tables of contents. It also includes an introduction, newly written by the editor, which places the gathered materials in their historical and intellectual context.

Chinese Cinema

Associate Professor of International Business and Asian Studies at Griffith University Mary Ann Farquhar, PH D

Christopher (Associate Professor of Film Studies Berry, Goldsmiths College)

Luke Robinson

This book is the first anthology of research devoted to the booming world of Chinese film festivals, covering both mainstream and independent films. It also explores festivals in the Chinese-speaking world and festivals of Chinese films in the rest of the world. The book asks how Chinese film festivals function as sites of translation, translating Chinese culture to the world and world culture to Chinese-speaking audiences, and also how the international film festival model is being transformed as it is translated into the Chinese-speaking world.

Sites of Translation

Chinese Film Festivals

Mobile Cultures provides much-needed, empirically grounded studies of the connections between new media technologies, the globalization of sexual cultures, and the rise of queer Asia. The availability and use of new media—fax machines, mobile phones, the Internet, electronic message boards, pagers, and global television—have grown exponentially in Asia over the past decade. This explosion of information technology has sparked a revolution, transforming lives and lifestyles, enabling the creation of communities and the expression of sexual identities in a region notorious for the regulation of both information and sexual conduct. Whether looking at the hanging of toy cartoon characters like “Hello Kitty” from mobile phones to signify queer identity in Japan or at the development of queer identities in Indonesia or Singapore, the essays collected here emphasize the enormous variance in the appeal and uses of new media from one locale to another. Scholars, artists, and activists from a range of countries, the contributors chronicle the different ways new media galvanize Asian queer communities in Taiwan, South Korea, Japan, Indonesia, Thailand, Malaysia, India, and around the world. They consider phenomena such as the uses of the Internet among gay, lesbian, or queer individuals in Taiwan and South Korea; the international popularization of Japanese queer pop culture products such as Yaoi manga; and a Thai website’s reading of a scientific tract on gay genetics in light of Buddhist beliefs. Essays also explore the politically subversive possibilities opened up by the proliferation of media technologies, examining, for instance, the use of Cyberjaya—Malaysia’s government-backed online portal—to form online communities in the face of strict antigay laws. Contributors. Chris Berry, Tom Boellstorff, Larissa Hjorth, Katrien Jacobs, Olivia Khoo, Fran Martin, Mark McLelland, David Mullaly, Baden Offord, Sandip Roy, Veruska Sabucco, Audrey Yue

Koichi Iwabuchi

Eva Tsai

Since the 1990s there has been a dramatic increase in cultural flows and connections between the countries in the East Asian region. Nowhere is this more apparent than when looking at popular culture where uneven but multilateral exchanges of Japanese, Korean, Taiwanese, Hong Kong and Chinese products have led to the construction of an ‘East Asian Popular Culture’. This is both influenced by, and in turn influences, the national cultures, and generates transnational co-production and reinvention. As East Asian popular culture becomes a global force, it is increasingly important for us to understand the characteristics of contemporary East Asian popular culture, and in particular its transnational nature. In this handbook, the contributors theorize East Asian experiences and reconsider Western theories on cultural globalization to provide a cutting-edge overview of this global phenomenon. The Routledge Handbook of East Asian Popular Culture will be of great interest to students and scholars of a wide range of disciplines, including: Cultural Studies, Media Studies, Communication Studies, Anthropology, Sociology and Asian Studies in general.

Routledge Handbook of East Asian Popular Culture

Nicola Liscutin

Jonathan D. Mackintosh

These timely essays highlight regional cross-fertilization in music, film, new media, and popular culture in Northeast Asia, including analysis of gender and labor issues amid differing regulatory frameworks and public policy concerning cultural production and piracy.

What a Difference a Region Makes

Cultural Studies and Cultural Industries in Northeast Asia

Ying Zhu

TV institutions, programming, and audiences in Greater China and the Chinese diaspora

TV China

Feii Lu

This is the first English-language anthology on the Taiwan New Cinema and its legacy. It is an exciting collection which covers all the major filmmakers from Hou Hsiao Hsien and Edward Yang to Ang Lee and more. Gathering a range of essays that analyze individual films produced since the advent of the Taiwan New Cinema in the early 1980s, it aims to complement Feii Lu’s Taiwan Cinema: Politics, Economics, Aesthetics, translated by Chris Berry (Duke University Press and Hong Kong University Press, forthcoming). Taiwan and its internationally renowned cinema ar " on the edge" in more ways than one. For all of its history the island has been on the edge of larger geopolitical entities, subjected to invasions, migrations, incursions, and pressures. On the other hand, as one of the "Little Tiger" economies of Asia, it has been on the cutting edge of the Asian economic boom and of technological innovation; in recent years it has pioneered democratization of authoritarian regimes in East Asia.

Chris Berry

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