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Zhang Yimou's first film, Red Sorghum, took the Golden Bear Award in 1988 at the Berlin International Film Festival. Since then Chinese films have continued to arrest worldwide attention and capture major film awards, winning an international following that continues to grow. Transnational Chinese Cinemas spans nearly the entire length of twentieth-century Chinese film history. The volume traces the evolution of Chinese national cinema, and demonstrates that gender identity has been central to its formation. Femininity, masculinity and sexuality have been an integral part of the filmic discourses of modernity, nationhood, and history. This volume represents the most comprehensive, wide-ranging, and up-to-date study of China's major cinematic traditions. It is an indispensable source book for modern Chinese and Asian history, politics, literature, and culture.
This book investigates the origins and mechanics of recent Chinese migration, focusing on the work and life of Fujianese migrants in the United Kingdom, Hungary, and Italy, and exploring the many transnational spaces that connect Fujianese across Europe, the United States, and China.
This is the first systematic study of networks of performance collaboration in the contemporary Chinese-speaking world and of their interactions with the artistic communities of the wider East Asian region. It investigates the aesthetics and politics of collaboration to propose a new transnational model for the analysis of Sinophone theatre cultures and to foreground the mobility and relationality of intercultural performance in East Asia. The research draws on extensive fieldwork, interviews with practitioners, and direct observation of performances, rehearsals, and festivals in Asia and Europe. It offers provocative close readings and discourse analysis of an extensive corpus of hitherto untapped sources, including unreleased video materials and unpublished scripts, production notes, and archival documentation.
Based on extensive original research, including in studio archives, industrial surveys, official records, trade journals, and English and Chinese newspapers, this book explores the role of the American film industry in the development of cinema in China. It examines the Chinese industry’s response to the American industry and the consequences of this response. It also considers the attitudes of Chinese film practitioners towards Hollywood and the contribution of those figures who acted as intermediaries between the two industries. Overall, the book casts much new light on the early development of the film industry in China and demonstrates the huge influence Hollywood had on it.
In the mid-nineteenth century, Cuba's infamous "coolie" trade brought well over 100,000 Chinese indentured laborers to its shores. Though subjected to abominable conditions, they were followed during subsequent decades by smaller numbers of merchants, craftsmen, and free migrants searching for better lives far from home. In a comprehensive, vibrant history that draws deeply on Chinese- and Spanish-language sources in both China and Cuba, Kathleen Lopez explores the transition of the Chinese from indentured to free migrants, the formation of transnational communities, and the eventual incorporation of the Chinese into the Cuban citizenry during the first half of the twentieth century. Chinese Cubans shows how Chinese migration, intermarriage, and assimilation are central to Cuban history and national identity during a key period of transition from slave to wage labor and from colony to nation. On a broader level, Lopez draws out implications for issues of race, national identity, and transnational migration, especially along the Pacific rim.
Born and raised in San Francisco, Lai was trained as an engineer but blazed a trail in the field of Asian American studies. Long before the field had any academic standing, he amassed an unparalleled body of source material on Chinese America and drew on his own transnational heritage and Chinese patriotism to explore the global Chinese experience. In Chinese American Transnational Politics, Lai traces the shadowy history of Chinese leftism and the role of the Kuomintang of China in influencing affairs in America. With precision and insight, Lai penetrates the overly politicized portrayals of a history shaped by global alliances and enmities and the hard intolerance of the Cold War era. The result is a nuanced and singular account of how Chinese politics, migration to the United States, and Sino-U.S. relations were shaped by Chinese and Chinese American groups and organizations. Lai revised and expanded his writings over more than thirty years as changing political climates allowed for greater acceptance of leftist activities and access to previously confidential documents. Drawing on Chinese- and English-language sources and echoing the strong loyalties and mobility of the activists and idealists he depicts, Lai delivers the most comprehensive treatment of Chinese transnational politics to date.
The Amoy-dialect film industry emerged in the 1950s, producing cheap, b-grade films in Hong Kong for direct export to the theatres of Manila Chinatown, southern Taiwan and Singapore. Films made in Amoy dialect - a dialect of Chinese - reflected a particular period in the history of the Chinese diaspora, and have been little studied due to their ambiguous place within the wider realm of Chinese and East Asian film history. This book represents the first full length, critical study of the origin, significant rise and rapid decline of the Amoy-dialect film industry. Rather than examining the industry for its own sake, however, this book focuses on its broader cultural, political and economic significance in the region. It questions many of the assumptions currently made about the ‘recentness’ of transnationalism in Chinese cultural production, particularly when addressing Chinese cinema in the Cold War years, as well as the prominence given to ‘the nation’ and ‘transnationalism’ in studies of Chinese cinemas and of the Chinese Diaspora. By examining a cinema that did not fit many of the scholarly models of ‘transnationalism’, that was not grounded in any particular national tradition of filmmaking and that was largely unconcerned with ‘nation-building’ in post-war Southeast Asia, this book challenges the ways in which the history of Chinese cinemas has been studied in the recent past.
The term ‘circulatory transnational migration’ best describes the unconventional migratory route of many contemporary Chinese migrants – that is an unfinished set of circulatory movements that these migrants engage in between the homeland and various host countries. ‘Return migration’, ‘step migration’ to a third destination and the ‘astronauting’ strategy are all included within this circulatory migration movement wherein ‘returning’ to the country of origin does not always mean to settle back to the homeland permanently; while ‘step migration’ also does not necessarily mean to re-migrate to a third destination country for a permanent purpose. Liu takes a longitudinal perspective to study Chinese migrants’ transnational movements and looks at their transnational migratory movements as a family matter and progressive and dynamic process, using New Zealand as a primary case study. She examines Chinese migrants’ initial motives for immigrating to New Zealand; the driving forces behind their adoption of a transnational lifestyle which includes leaving New Zealand to return to China, moving to a third country – typically Australia - or commuting across borders; family-related considerations; inter-generational dynamics in transnational migration; as well as their future movement intentions. Liu also discusses Chinese migrants’ conceptualisation of ‘home’, citizenship, identity, and sense of belonging to provide a deeper understanding of their transnational migratory experiences.
The research presented in this book explores care and its circulation in Chinese transnational families that are split between China and Spain, and the paths these families’ children have taken through their lives so far: from their early years to their current position as young adults, with care, in its multiple dimensions and timescales – past, present and future – as the unifying thread. In doing so, it provides a contribution to the emerging body of research about care and transnational families and it posits the need to question hegemonic models of family, childhood and care, and to give voice and visibility to other actors, moving beyond the adult-centred perspective that dominates migration research. The ethnographic approach together with the focus on the day-to-day lives of these families, in which care is the core concept, as it permeates people’s lives and traverses society generationally, makes this book appealing to both scholars and general public. The Conclusions chapter of this book is freely available as a downloadable Open Access PDF at http://www.taylorfrancis.com under a Creative Commons Attribution-Non Commercial-No Derivatives (CC-BY-NC-ND) 4.0 license.
By focusing on Chinese cultural formations and critical discourses of the last decade of the century, the author dissects the intellectual, economic, and political contradictions of a turbulent era. This wide-ranging, deeply interdisciplinary work demarcates the cultural terrain by examining diverse media: film, television, avant-garde art, and literature, as well as critical theory and intellectual history.