IntroductionThe Coming of Age of Chinese Cinemas Studies Song Hwee Lim, Chinese University of Hong Kong, China, and Julian Ward, University of Edinburgh, UK Preface to Revised Edition Song Hwee Lim, Chinese University of Hong Kong, China, and Julian Ward, University of Edinburgh, UK Section I: Territories, Trajectories, Historiographies Chapter 1, Transnational Chinese Film Studies Chris Berry, King's College London, UK Chapter 2, National Cinema as Translocal Practice: reflections on Chinese LFI HistoriographyYingjin Zhang, University of California, San Diego, USA Chapter 3, Cinemas of the Chinese Diaspora Gina Marchetti, Hong Kong University, China Chapter 4, Six Chinese Cinemas in Search of a Historiography Song Hwee Lim Section II: Early Cinema to 1949 Chapter 5, Shadow Magic and the Lost Decades in Chinese Film History Zhiwei Xiao, California State University, San Marcos, and Xuelei Huang, University of Edinburgh, UK Chapter 6, The Making of a National Cinema: Shanghai Cinema of the 1930s Laikwan Pang, The Chinese University of Hong Kong, China Chapter 7, Wartime Cinema: Reconfiguration and Border Navigation Yiman Wang, University of California, Santa Cruz, USA Chapter 8, Chinese Filmmaking on the eve of the Communist Revolution Paul Pickowicz, University of California, San Diego, USA Section III: The Forgotten Period - 1949-1980 Chapter 9, The Remodelling of a National Cinema: Chinese film of the Seventeen Years (1949-1966) Julian Ward, University of Edinburgh, UK Chapter 10, Liminal Cinema: PRC Film Genres of the New Era Michael Berry, University of California, Los Angeles, USA Chapter 11, Healthy Realism in Taiwan, 1964-1980: Film Style, Cultural Policies and Mandarin Cinema Guo-Juin Hong, Duke University, USA Chapter 12, The Hong Kong Cantonese Cinema: Emergence, Development and Decline Stephen Teo, Nanyang Technological University, Singapore Section IV: The New Waves Chapter 13, The Fifth Generation: A Re-assessment Wendy Larson, University of Oregon, USA Chapter 14, Taiwan New Cinema Movement and Its Legacy Tonglin Lu, University of Montreal, Canada Chapter 15, The Hong Kong New Wave: A Critical Reappraisal Vivian P. Y. Lee, City University of Hong Kong, China Chapter 16, Transnational Chinese-Language Auteurism: Time, Place, Gender James Udden, Gettysburg College, Pennsylvania, USA Section V: Stars, Auteurs and Genres Chapter 17, Dragons Forever: Chinese Martial Arts Stars Leon Hunt, Brunel University, UK Chapter 18, The Contemporary Wuxia Revival: Genre Evolution and the Hollywood Transnational Factor Kenneth Chan, University of Northern Colorado, USA Chapter 19, Independent Documentary in China, Taiwan, and Hong KongLuke Robinson, University of Sussex, UK Section 6: Industry, Market and TechnologyChapter 20, Contemporary Mainstream PRC CinemaYomi Braester, University of Washington, USA Chapter 21, The Urban Generation: Underground and Independent Films from the PRC Jason McGrath, University of Minnesota, USA Chapter 22, Censorship, Propaganda, and Film Policy Matthew Johnson, Taylor's University, Malaysia Chapter 23, Alternative Ways of Seeing: Post-Digital Detours in Chinese Cinema Paola Voci, University of Otago, New Zealand AfterwordLiquidity of Being Rey Chow, Duke University, USA Appendix 1Book-length Studies of Chinese Cinemas in the English Language Compiled by Wan-Jui Wang, Louise Williams, Li Pin, and Song Hwee Lim Appendix 2Chinese Film Titles Appendix 3Chinese Names Appendix 1 Book-length Studies of Chinese Cinemas in the English Language Compiled by Wan-Jui Wang, Louise Williams, Li Pin, and Song Hwee Lim Appendix 2Chinese Film Titles Appendix 3Chinese Names
