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Critical Bibliography

  • Abbas, Ackbar. 1997a. Hong Kong: Culture and the Politics of Disappearance. Minneapolis: University of Minnesota Press. ---. 1997b. "Hong Kong: Other Histories, Other Politics. Public Culture 9.3 (Spring): 293-313.
  • Allen, Tom. 1981. China Film Week. Film Comment 17.6: 10.
  • An Jingfu. 1994. "The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children. Erhlich and Desser 1994, 117-25.
  • Andrew, Dudley. 1995. Mists of Regret: Culture and Sensibility in Classical French Film. Princeton: Princeton University Press. ---. 1998. "Film and History." Hill and Gibson 1998: 187-9.
  • Arac, Jonathan. 1997. "Postmodernism and Postmodernity in China: An Agenda for Inquiry. New Literary History 28.1 (Winter): 135-45.
  • Armes, Roy. 1987. Third World Film Making and the West. Berkeley: University of California Press.
  • Asian Women United of California, ed. 1989. Making Waves: An Anthology of Writing by and about Asian American Women. Boston: Beacon.
  • Asiaweek, ed. 1994. "Box-Office Boom: Asian Films and Themes Light Up the World's Movies Screens. Asiaweek (Feb. 16): 27.
  • Aufderheide, Pat. 1987. "Oriental Insurgents. Film Comment 23.6: 73-6.
  • Baker, Rick, and Toby Russell. 1994. The Essential Guide to Hong Kong Movies. London: Easter Heroes Publications.
  • Bamyeh, Mohammed A. 1993. "Trend Report: Transnationalism. Current Sociology 41.3 (Winter): 1-96.
  • Barlow, Tani, ed. 1993. Gender Politcs in Modern China: Writing and Feminism. Durham, N.C.: Duke University Press.
  • Barmé, Geremie R. 1999. In the Red: On Contemporary Chinese Culture. New York: Columbia University Press.
  • Befu, Harumi, ed. 1993. Cultural Nationalism in East Asia: Representation and Identity. Berkeley: University of California, Institute of East Asian Studies.
  • Beijing Scene. 1999. "Men in Towels. Beijing Scene 6.4 (Nov. 5-11): 1-3.
  • Bergeron, Ré gis. 1977. Le Cinema chinois, 1905-1949 (Chinese cinema). Lausanne: Alfred Eibel. ---. 1984. Le Cinema chinois, 1949-1983 (Chinese cinema). 3 vols. Paris: L'Harmattan. ---. 1996-7. "The Making of a Passion: 40 Years of Living with the World of Chinese Films. Asian Cinema 8.2 (Winter): 116-25.
  • Bernardi, Daniel, ed. 1996. The Birth of Whiteness: Race and the Emergence of U.S. Cinema. Brunswick, N.J.: Rutgers University Press.
  • Bernstein, Matthew, and Gaylyn Studlar, eds. 1997. Visions of the East: Orientalism in Film. New Brunswick, N.J.: Rutgers University Press.
  • Berry, Chris, ed. 1985. Perspectives on Chinese Cinema. East Asian Papers 39. Ithaca, NY: Cornell University, China-Japan Program.
    ---. 1988a. "Chinese Urban Cinema: Hyper-realism Versus Absurdism. East-West Film Journal 3.1: 76-87.
    ---. 1988b. "Chinese 'Women's Cinema.'" Camera Obscura 18: 5-41.
    ---. 1988c. "The Sublimative Text: Sex and Revolution in Big Road . East-West Film Journal 2.2: 66-86.
    ---. 1989. "Poisonous Weeds or National Treasures: Chinese Left Films in the 1930s. Jump Cut 34 (March): 87-94.
    ---. 1991a. "Market Forces: China's 'Fifth Generation' Faces the Bottom Line. Berry 1991b, 114-25.
    ---, ed. 1991b. Perspectives on Chinese Cinema. Second and expanded edition. London: British Film Institute.
    ---. 1991c. "Sexual Difference and the Viewing Subject in Li Shuangshuang and The In-laws . Berry 1991b, 30-9.
    ---. 1992. "Race (minzu): Chinese Film and the Politics of Nationalism. Cinema Journal 31.2 (Winter): 45-58.
    ---. 1993. "Interview with Peng Xiaolian. Modern Chinese Literature 7.2 (Fall): 103-8.
    ---. 1994a. "A Nation T(w/o)o: Chinese Cinema(s) and Nationhood(s). Dissanayake 1994, 42-64.
    ---. 1994b. "Neither One Thing Nor Another: Toward a Study of the Viewing Subject and Chinese Cinema in the 1980s. Browne et al. 1994, 109-10.
    ---. 1995a. "Tsai Ming-liang: Look at All the Lonely People. Cinemaya 30 (Autumn): 18-20.
    ---. 1995b. "A Turn for the Better?--Genre and Gender in Girl from Hunan and Other Recent Mainland Chinese Films. Post Script 14: 81-103.
    ---. 1996a. "Outrageous Fortune: China's Film Industry Takes a Roller-Coaster Ride. Cinemaya 33 (Summer): 17-9.
    ---. 1996b. "Sexual DisOrientations: Homosexual Rights, East Asian Films, and Postmodern Postnationalism." Tang and Snyder 1996, 157-82.
    ---. 1996c. "Zhang Yuan: Thriving in the Face of Adversity. Cinemaya 32 (Spring): 40-4.
    ---. 1998a. "If China Can Say No, Can China Make Movies? Or, Do Movies Make China? Rethinking National Cinema and National Agency. Boundary 2 25.3 (Fall): 129-50.
    ---. 1998b. "Staging Gay Life in China: East Palace, West Palace. Jump Cut 42: 84-9.
  • Berry, Chris, and Mary Ann Farquhar. 1994. "Post-Socialist Strategies: An Analysis of Yellow Earth and Black Canoon Incident. Ehrlich and Desser 1994, 81-116.
  • Bordwell, David. 2000a. The Planet Hong Kong: Popular Cinema and the Art of Entertainment. Cambridge, Mass.: Harvard University Press.
    ---. 2000b. “ Richness through Imperfection: King Hu and the Glimpse. Fu and Desser 2000, 113-36.
  • Browne, Nick. 1994a. "Introduction. Browne et al. 1994, 1-11.
    ---. 1994b. "Society and Subjectivity: On the Political Economy of Chinese Melodrama. Browned et al. 1994, 40-56.
    ---. 1996. "Hou Hsiao-hsien's Puppetmaster: The Poetics of Landscape. Asian Cinema 8.1: 28-37.
  • Browne, Nick, Beverle Houston, and Robert Rose. 1985. "China Is Near: A Visit to the People’ s Republic. On Film 14: 11-7.
  • Browne, Nick, Paul G. Pickowicz, Vivian Sobchack, and Esther Yau, eds. 1994. New Chinese Cinemas: Forms, Identities, Politics. New York: Cambridge University Press.
  • Brownlow, Kevin. 1989. "Sideny Franklin and 'The Good Earth' (MGM, 1937). Historical Journal of Film, Radio and Television 9.1: 79-89.
    ---. 1990. Behind the Mask of Innocence--Sex, Violence, Prejudice, Crime: Films of Social Conscience in the Silent Era. New York: Knopf.
  • Brunette, Peter. 1999. "From His Act of Betrayal Comes the Stuff of a Career. New York Times (Dec. 12): AR 37.
  • Burgwinkle, William, Glenn Man, and Valerie Wayne, eds. 1993. Significant Others: Gender and Culture in Film and Literature East and West. Honolulu: University of Hawaii, College of Languages, Linguistics and Literature.
  • Callahan, W. A. 1993. "Gender, Ideology, Nation: Ju Dou in the Cultural Politics of China. East-West Film Journal 7.1: 52-80.
  • Cai Mingliang (Tsai Ming-liang). 1994. Aiqing wansui: Cai Mingliang de dianying (Vive l'amour: Tsai Ming-liang's film). Taipei: Wanxiang.
  • Canby, Vincent. 1988. "Socialist Realist Fable of 1930's China. New York Times (Oct. 9): 1, 74.
  • Carson, Diane, Linda Dittmar, and Janice R. Welsch, eds. 1994. Multiple Voices in Feminist Film Criticism. Minneapolis: University of Minnesota Press.
  • Center for Documentation, Paris, ed. 1982. Ombres é lectriques: Panorama du ciné ma chinois, 1925-1982 (Electric shadows: a panoramic view of Chinese cinema). Paris: Centre de Documentation sur le Ciné ma Chinois.
  • Chan, Natalia Sui Hung. 2000. "Rewriting History: Hong Kong Nostalgia Cinema and Its Social Practice. Fu and Desser 2000, 252-72.
  • Chang, Michael G. 1999. "The Good, the Bad, and the Beautiful: Movie Actresses and Public Discourse in Shanghai, 1920s-1930s. Y. Zhang 1999a, 128-59.
  • Chang, Sung-sheng Yvonne. 1993. Modernism and the Nativist Resistance: Contemporary Chinese Fiction from Taiwan. Durham, N.C.: Duke University Press.
  • Chen Bo, ed. 1993. Zhongguo zuoyi dianying yundong (The leftist film movement in China). Beijing: Zhongguo dianying chubanshe.
  • Chen Huangmei, ed. 1989. Dangdai Zhongguo dianying (Contemporary Chinese cinema). 2 vols. Beijing: Zhongguo shehui kexue chubanshe.
  • Chen Kaige. 1991.(Young Kaige). Taipei: Yuanliu.
  • Chen Kaige and Tony Rayns. 1989. King of the Children" and the New Chinese Cinema. London: Faber and Faber.
  • Chen, Kuan-hsing. 1994. "Positioning Positions: A New Internationalist Localism of Cultural Studies. Positions 2.3 (Winter): 680-710.
  • Chen Mo. 1995. Zhang Yimou dianying lun (Zhang Yimou's films). Beijing: Zhongguo dianying chubanshe.
  • Chen, Ru-Shou Robert (Chen Ruxiu).
    1993a. "Dispersion, Ambivalence and Hybridity: A Cultural-Historical Investigation of Film Experience in Taiwan in the 1980s. Ph.D. diss.: University of Southern California.
    ---. 1993b. Taiwan xindianying de lishi wenhua jingyan (Historical and cultural experiences in new Taiwan cinema). Taipei: Wanxiang.
    ---. 1994. "Review of A Confucian Confusion. Cinemaya 24 (Summer): 36-7.
  • Chen, Ru-Shou Robert and Gene-Fon Liao (Liao Jinfeng), eds. 1995. Xunzhao dianying zhongde Taibei, 1950-1990 (Focus on Taipei through cinema). Taipei: Wanxiang.
  • Chen, Xiaomei. 1995. Occidentalism: A Theory of Counter-Discourse in Post-Mao China. New York: Oxford University Press.
  • Chen Xiaoming. 1997. "The Mysterious Other: Postpolitics in Chinese Film. Boundary 2 24.3 (Fall): 123-41.
  • Chen Xihe. 1990. "Shadowplay: Chinese Film Aesthetics and Their Philosophical and Cultural Fundamentals. Semsel et al. 1990, 192-204.
  • Cheng Jihua, Li Shaobai, and Xing Zuwen, eds. 1981. Zhongguo dianying fazhan shi (History of the development of Chinese cinema). 2 vols. Beijing: Zhongguo dianying chubanshe. 1963. Second edition.
  • Cheshire, Godfrey. 1993. "Time Span: The Cinema of Hou Hsiao-hsien. Film Comment 29.6: 56-63.
  • Cheuk Pak-Tong. 1999. “ The Beginning of the Hong Kong New Wave: The Interactive Relationship Between Television and the Film Industry. Post Script 19.1 (Fall): 10-27.
  • Chiao, (Peggy) Hsiung-Ping, ed. 1987. Xianggang dianying fengmao, 1975-1986 (Aspects of Hong Kong cinema, 1975-1986). Taipei: shibao chuban gongsi.
    ---, ed. 1988. Taiwan xindianying (New Taiwan cinema). Taipei: Shibao chuban gongsi.
    ---. 1991a. "The Distinct Taiwanese and Hong Kong Cinemas. Berry 1991b, 155-65.
    ---. 1993a. Gaibian lishi de wunian: Guolian dianying yanjiu (Five years that changed history: studies of Guolian studio), Taipei: Wanxiang.
    ---. 1993b. "Reel Contact Across the Taiwan Straits: A History of Separation and Reunion. Eder and Rossell 1993, 48-57.
    ---. 1993c. "'Trafficking' in Chinese Films. Modern Chinese Literature 7.2 (Fall): 97-101.
    ---. 1996a. "Mahjong: Urban Travails--An Interview with Edward Yang. Cinemaya 33 (Summer): 24-27.
    ---. 1996b. "Second Wave from Taiwan: Three Interviews. Cinemaya 34 (Autumn): 4-13.
  • China Screen, ed. 1994. "Western Wonders and Chinese Film Myth. A symposium. China Screen 2: 28-9.
  • Chow, Rey. 1991a. "Violence in Other Country: China as Crisis, Spectacle, and Woman. Mohanty et al. 1991, 81-100.
    ---. 1991b. Woman and Chinese Modernity: The Politics of Reading Between West and East. Minneapolis: University of Minnesota Press.
    ---. 1993. Writing Diaspora: Tactics of Intervention in Contemporary Cultural Studies. Bloomington: Indiana University Press.
    ---. 1995. Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema. New York: Columbia University Press.
    ---. 1997. "Can One Say No to China?" New Literary History 28.1 (Winter): 147-51.
    ---. 1998a. Ethics after Idealism: Theory-Culture-Ethnicity-Reading. Bloomington: Indiana University Press.
    ---. 1998b. "Film and Cultural Identity. Hill and Gibson 1998, 169-75.
    ---. 1998c. "Introduction: On Chineseness as a Theoretical Problem. Boundary 2 25.3 (Fall): 1-24.
    ---. 1998d. "King Kong in Hong Kong: Watching the 'Handover' from the U.S.A. Social Text 16.2 (Summe): 93-108.
    ---, ed. 1998e. "Modern Chinese Literary and Cultural Studies in the Age of Theory: Reimagining a Field. A special issue. Boundary 2 25.3 (Fall).
    ---. 1998f. "The Seductions of Homecoming: Place, Authenticity, and Chen Kaige's Temptress Moon. Narrative 6.1: 3-17.
  • Choy, Christine. 1978. "Images of Asian-Americans in Film and Television. Miller 1978, 145-55.
  • Chu, Blanche. 1998. "The Ambivalence of History: Nostalgia Films Understood in the Post-Colonial Context. Hong Kong Cultural Studies Bulletin 8-9 (Spring/Summer): 41-54.
  • Chun, Allen. 1996. "Fuck Chineseness: On the Ambiguities of Ethnicity as Culture as Identity. Boundary 2 23.2 (Summer): 111-38.
  • Ciecko, Anne T. 1997. "Transnational Action: John Woo, Hong Kong, Hollywood." S. Lu 1997e, 221-37.
  • Ciecko, Anne T., and Sheldon Lu. 1998. "Televisuality, Capital, and the Global Village: Ermo. Jump Cut 42: 77-83.
  • Cinemaya. 1995. "A Tribute to Zhang Yimou. A special forum. Cinemay 30 (Autumn): n.p.
  • Clark, Paul. 1984. "The Film Industry in the 1970s. McDougall 1984, 177-96.
    ---. 1987a. Chinese Cinema: Culture and Politics Since 1949. New York: Cambridge University Press.
    ---. 1987b. "Ethnic Minorities in Chinese Films: Cinema and the Exotic. East-West Film Journal 1.2 (June): 15-31.
    ---. 1988. "The Sinification of Cinema: the Foreignness of Film in China. Dissanayake 1988, 175-84.
    ---. 1989. "Reinventing China: The Fifth-Generation Filmmakers. Modern Chinese Literature 5: 121-36.
    ---. 1991. "Two Hundred Flowers on China's Screens. Berry 1991b, 40-61.
  • Clausen, Soren, Roy Starrs, and Anne Wedell-Wedellsborg, eds. 1995. Cultural Encounters--China, Japan, and the West: Essays Commemorating 25 Years of East Asian Studies at the University of Aarhus. Aarhus, Denmark: Aarhus University Press.
  • Crossley, Pamela Kyle. 1990. "Thinking About Ethnicity in Early Modern China. Late Imperial China 11.1 (June): 1-35.
  • Cui, Shuqin. 1997. "Gendered Perspective: The Construction and Representation of Subjectivity and Sexuality in Ju Dou. S. Lu 1997e, 303-29.
  • Curtin, Michael. 1999. "Industry on Fire: The Cultural Economy of Hong Kong Media. Post Script 19.1 (Fall): 28-51.
  • Dai, Jinhua. 1995. "Invisible Women: Contemporary Chinese Cinema and Women's Film. Positions 3.1 (Spring): 255-80.
    ---. 1996. "Redemption and Consumption: Depicting Culture in the 1990s. Positions 4.1 (Spring): 127-43.
    ---. 1997. "Imagined Nostalgia. Boundary 2 24.3 (Fall): 143-61.
    ---. 1999. "Invisible Writing: The Politics of Chinese Mass Culture in the 1990s. Modern Chinese Literature and Culture 11.1 (Spring): 31-60.
  • Dai Jinhua and Mayfair Yang. 1995. "A Conversation with Huang Shuqin. Positions 3.3 (Winter): 790-805.
  • Dai Qing. 1993. "Raised Eyebrows for Raise the Red Lantern. Public Culture 5: 333-7.
  • Dai Xiaolan, ed. 1996. Zhongguo wusheng dianying (Chinese silent cinema). Beijing: Zhongguo dianying chubanshe. Dannen, Fredric, and Barry Long. 1997. Hong Kong Babylon: An Insider's Guide to the Hollywood of the East. London: Faber and Faber.
  • Dariotis, Wei Ming, and Eileen Fung. 1997. "Breaking the Soy Sauce Jar: Diasporas and Displacement in the Films of Ang Lee. S. Lu 1997e, 187-20.
  • Davis, Deborah, Richard Kraus, Barry Naughton, and Elizabeth Perry, eds. 1995. Urban Spaces in Contemporary China: The Potential for Autonomy and Community in Post-Mao China. New York: Cambridge University Press.
  • Delmar, Rosalind, and Mark Nash. 1976-77. “ Breaking with Old Ideas: Recent Chinese Films. Screen 17.4: 67-84.
  • Desser, David. 2000. "The Kung Fu Craze: Hong Kong Cinema's First American Reception. Fu and Desser 2000, 19-43.
  • Dirlik, Arif. 1989. "Post-socialism? Reflections on 'Socialism with Chinese Characteristics.'" Dirlik and Meisner 1989, 362-84.
    ---. 1994. "The Postcolonial Aura: Third World Criticism in the Age of Global Capitalism. Critical Inquiry 20 (Winter): 328-56.
    ---. 1995. "Confucius in the Borderlands: Global Capitalism and the Reinvention of Confucianism. Boundary 2 22.3 (Fall): 229-73.
  • Dirlik, Arif, and Maurice Meisner, eds. 1989. Marxism and the Chinese Experience. Armonk, N.Y.: Sharpe.
  • Dirlik, Arif, and Xudong Zhang. 1997. "Introduction: Postmodernism and China. Boundary 2 24.3 (Fall): 1-18.
  • Dissanayake, Wimal, ed. 1988. Cinema and Cultural Identity: Reflections on Films from Japan, India, and China. Lanham, MD: University Press of America.
    ---, ed. 1993. Melodrama and Asian Cinema. New York: Cambridge University Press.
    ---, ed. 1994.Colonialism and Nationalism in Asian Cinema. Bloomington: Indiana University Press.
    ---. 1996a. "Asian Cinema and the American Cultural Imaginary.Theory, Culture & Society 13.4: 102-22.
    ---, ed. 1996b. Narratives of Agency: Self-Making in China, India, and Japan. Minneapolis: University of Minnesota Press.
  • Donald, Stephanie. 1995. "Women Reading Chinese Films: Between Orientalism and Silence. Screen 36.4: 325-40.
    ---. 1997. "Landscape and Agency: Yellow Earth and the Demon Lover. Theory, Culture & Society 141: 97-112.
    ---. 1998. "Symptoms of Alienation: The Female Body in Recent Chinese Film. Continuum 12.1: 91-103.
    ---. 2000. Public Secrets, Public Spaces: Cinema and Civility in China. Lanham, MD: Rowman and Littlefield.
  • Duara, Prasenjit. 1993. "De-constructing the Chinese Nation. Australian Journal of Chinese Affairs 30 (July): 1-26.
    ---. 1995. Rescuing History from the Nation: Questioning Narratives of Modern China. Chicago: University of Chicago Press.
  • Eberhard, Wolfram. 1972. The Chinese Silver Screen: Hong Kong and Taiwan Motion Pictures. Taipei: Orient Cultural Service.
  • Eckholm, Eric. 1999. "Feted Abroad, and No Longer Banned in Beijing. New York Times (Dec. 16): Arts & Leisure.
  • Eder, Klaus, and Deac Rossell, eds. 1993. New Chinese Cinema. Dossier 11. London: National Film Theatre.
  • Electa, Milan, ed. 1982. Ombre elettriche: Saggi e ricerche sul cinema cinese (Electric shadows: essays and studies on Chinese cinema). Milan: Electa.
  • Elley, Derek. 1993. "Tiananmen and the 5th Generation. Eder and Rossell 1993, 38-47.
  • Ellis, John. 1982. "Electric Shadows in Italy. Screen 23.2: 79-83.
  • Erens, Patricia Brett. 2000. “ The Film Work of Ann Hui. Fu and Desser 2000, 176-95.
  • Erhlich, Linda, and David Desser, eds. 1994. Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan. Austin: University of Texas Press.
  • Farquhar, Mary Ann. 1992. "The 'Hidden' Gender in Yellow Earth. Screen 33.2: 154-64.
  • Featherstone, Mike. 1995. Undoing Culture: Globalization, Postmodernism and Identity. London: Sage.
  • Featherstone, Mike, Scott Lash, and Roland Robertson, eds. 1995. Global Modernities. London: Sage.
  • Field, Andrew D. 1999. "Imaging Sexuality: Cabaret Girl, Movie Star, Prostitute. Y. Zhang 1999a, 99-127.
  • Fong, Suzie Young-Sau. 1995. "The Voice of Feminine Madness in Zhang Yimou's Raise the Red Lantern. Asian Cinema 7.1: 12-23.
  • Fonoroff, Paul. 1997. Silver Light: A Pictorial History of Hong Kong Cinema, 1920-1970. Hong Kong: Joint.
    ---. 1998. At the Hong Kong Movies. Hong Kong: Film Biweekly.
  • Fore, Steve. 1993. "Tales of Recombinant Femininity: The Reincarnation of Golden Lotus, the Chin P'ing Mei, and the Politics of Melodrama in Hong Kong. Journal of Film and Video 45.4: 57-70.
    ---. 1994. "Golden Harvest Films and the Hong Kong Movie Industry in the Realm of Globalization. Velvet Light Trap 34: 40-58.
    ---. 1997. "Jackie Chan and the Cultural Dynamics of Global Entertainment. S. Lu 1997e, 239-62.
    ---. 1998. "Time-Traveling Under an Autumn Moon. Post Script 17.3 (Summer): 34-46.
    ---. 1999. "Introduction: Hong Kong Movies, Critical Time Warps, and Shapes of Things to Come. Post Script 19.1 (Fall): 2-9.
  • Friedman, Lester D., ed. 1991. Unspeakable Images: Ethnicity and the American Cinema. Urbana: University of Illinois Press.
  • Fu, Poshek. 1997. "The Ambiguity of Entertainment: Chinese Cinema in Japanese-Occupied Shanghai, 1942 to 1945. Cinema Journal 37.1 (Fall): 66-84.
    ---. 2000a. “ Between Nationalism and Colonialism: Mainland Emigres, Marginal Culture, and Hong Kong Cinema 1937-1941. Fu and Desser 2000, 199-226.
    ---. 2000b. “ The 1960s: Modernity, Youth Culture, and Hong Kong Cantonese Cinema. Fu and Desser 2000, 71-89.
  • Fu, Poshek, and David Desser, eds. 2000. The Cinema of Hong Kong: History, Arts, Identity. New York: Cambridge University Press.
  • Gabriel, Teshome H. 1982. Third Cinema in the Third World: The Aesthetics of Liberation. Ann Arbor: UMI Research Press.
  • Gallagher, Mark. 1997. "Masculinity in Translation: Jackie Chan’ s Translated-cultural Star Text. Velvet Light Trap 39: 23-41.
  • Gladney, Dru C. 1994. "Representing Nationality in China: Refiguring Majority/Minority Identities. Journal of Asian Studies 53.1 (Feb.): 92-123.
    ---. 1995. "Tian Zhuangzhuang, the Fifth Generation, and Minorities Film in China. Public Culture 8.1 (Fall): 161-75.M
  • Glaessner, Verina. 1974. Kung Fu: The Cinema of Vengeance. London: Lorrimer.
  • Gold, Thomas. 1993. "Go with Your Feelings: Hong Kong and Taiwan Popular Culture in Greater China. China Quarterly 136: 907-25.
  • Goldblatt, Howard, ed. 1995. Chairman Mao Would Not Be Amused: Fiction from Today's China. New York: Grove.
  • Golden Horse Film Festival, ed. 1994. A Perspective of Chinese Cinemas of the 90's. A special program. Taipei: Golden Horse Film Festival.
  • Gongsun Lu. 1977. Zhongguo dianying shihua (A history of Chinese cinema). 2 vols. Hong Kong: Nantian shuye gongsi.
  • Government Information Office, ed. 1997. The Republic of China Yearbook, 1997. Taipei: Government Information Office.
  • Grossberg, Lawrence, Cary Nelson, and Paula Treichler, eds. 1992. Cultural Studies. London: Routledge.
  • Gunn, Edward. 1980. Unwelcome Muse: Chinese Literature in Shanghai and Peking, 1937-1945. New York: Columbia University Press.
  • Guo Jian. 1999. "Resisiting Modernity in Contemporary China: The Cultural Revolution and Postmodernism. Modern China 25.3 (July): 343-76.
  • Hammond, Stefan, and Mike Wilkins. 1996. Sex and Zen and a Bullet in the Head: The Essential Guide to Hong Kong's Mind-Bending Films. New York: Fireside-Simon and Schuster.
  • Han Xiaolei. 1995. "Dui diwudai de wenhua tuwei: houwudai de geren dianying xianxiang" (A cultural breakaway from the Fifth Generation: the phenomenon of individualist film in the post-Fifth Generation). Dianying yishu 2: 58-63.
    ---. 1999. "Tuwei hou de wenhua piaoyi" (Cultural driftings after the breakaway). Dianying yishu 5: 58-65.
  • Hao Dazheng. 1994. "Chinese Visual Representation: Painting and Cinema." Erhlich and Desser 1994, 45-62.
  • Harris, Kristine. 1997a. "The New Woman Incident: Cinema, Scandal, and Spectacle in 1935 Shanghai. S. Lu 1997e, 277-302.
    ---. 1997b . “ Silent Speech: Envisioning the Nation in Early Chinese Cinema. Ph.D. diss.: Columbia University.
    ---. 1999. "The Romance of the Western Chamber and the Classical Subject Film in 1920s Shanghai. Y. Zhang 1999a, 51-73.
  • Hayford, Charles. 1998. "What's So Bad AboutThe Good Earth?" Education About Asia 3.3 (Winter): 4-7.
  • Hayles, Katherine. 1999. How We Became Posthuman: Virtual Bodies in Cybernetics, Literature, and Informatics. Chicago: University of Chicago Press.
  • Hill, John, and Pamela Church Gibson, eds. 1998. The Oxford Guide to Film Studies. New York: Oxford University Press.
  • Hitchcock, Peter. 1992. "The Aesthetics of Alienation, or China's 'Fifth Generation.'" Cultural Studies 6.1: 116-41.
  • Ho, Elaine Yee Lin. 1999. "Women on the Edges of Hong Kong Modernity: The Films of An Hui. M. Yang 1999, 162-87.
  • Hoare, Stephanie. 1993. "Innovation through Adaptation: The Use of Literature in New Taiwan Film and Its Consequences. Modern Chinese Literature 7.2 (Fall): 33-58.
  • Hockx, Michel, ed. 1999. The Literary Field of Twentieth-Century China. London: Curzon.
  • Holden, Stephen. 1995. "Erotic Energy and Social Disorder. New York Times (March 17).
  • Hong, Junhao. 1998. "The Evolution of China's War Movie in Five Decades: Factors Contributing to Changes, Limits, and Implications. Asian Cinema 10.1 (Fall): 93-106.
  • Hong Kong Film Archive, ed. 1997a. 50 Years of the Hong Kong Film Production and Distribution Industries: An Exhibition. Hong Kong: Urban Council.
    ---, ed. 1997b. Hong Kong Filmography, Vol. I, 1913-1941, Vol. II, 1942-1949. Hong Kong: Urban Council.
  • Huang Jianye. 1990. Renwen dianying de zhuixun (In search of humanist film). Taipei: Yuanliu.
    ---. 1995. Yang Dechang dianying yanjiu--Taiwan xin dianying de zhixing sibian jia (Films by Edward Yang: a critical thinker in new Taiwan cinema). Taipei: Yuanliu.
  • Huang Ren. 1994. Dianying yu zhengzhi xuanchuan: zhengche dianying yanjiu (Film and political propaganda: a study of policy films). Taipei: Wanxiang.
  • Huang Wulan, ed. 1999. Dangdai Zhongguo dianying: 1998 (1998 (Contemoporary Chinese cinema: 1998). Taipei: Shibao wenhua.
  • Hulsbus, Monica. 1997. "Oppositional Politics of Chinese Everyday Practices. Cineaction 42 (Feb.): 10-14.
  • Hung, Chang-Tai. 1994. War and Popular Culture: Resistance in Modern China, 1937-1945. Berkeley: University of California Press.
  • Hunter, Jane. 1984. The Gospel of Gentility: American Women Missionaries in Turn-of-the-Century China. New Haven: Yale University Press.
  • Ing, David. 1993-94. "Love at Last Site: Waiting for Oedipus in Stanley Kwan's Rouge. Camera Obscura 32: 75-101.
  • Jaivin, Linda. 1995. "Defying a Ban, Chinese Cameras Roll. The Wall Street Journal (Jan. 18): A12.
  • James, David, and Rick Berg, eds. 1996. The Hidden Foundation: Cinema and the Question of Class. Minneapolis: University of Minnesota Press.
  • Jameson, Fredric. 1986. "Third-World Literature in the Era of Multinational Capitalism. Social Text 15 (Fall): 65-88. ---. 1991. Postmodernism, or, The Cultural Logic of Late Capitalism. Durham, N.C.: Duke University Press.
    ---. 1992. Geopolitical Aesthetic: Cinema and Space in the World System. Bloomington: Indiana University Press.
    ---. 1994. "Remapping Taipei. Browned et al. 1994, 117-50.
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