General Studies

Berry, Chris, ed. Perspectives on Chinese Cinema. Bloomington: Indiana University Press; London: British Film Institute, 1991.

____________, and Paul Clark, "Major Directors," Perspectives on Chinese Cinema, ed Berry, pp. 187-202.

Browne, Nick, Paul Pickowicz, et al., ed., New Chinese Cinemas: Forms, Identities, Politics. New York: Cambridge Univ. Press, 1994.

Cantonese Opera Film Retrospective. Hong Kong: Urban Council, 1987.

Chow, Rey. Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema. New York: Columbia Univ. Press, 1995.

_________, "Silent is the Ancient Plain: Music, Fimmaking, and the Conception of Reform in China's New Cinema," Discourse 12.2 (Spring/Summer 1990), 82-109.

Cinema of Two Cities: Hong Kong-Shanghai. Hong Kong: Urban Council, 1994.

Clark, Paul, Chinese Cinema: Culture and Politics Since 1949. New York: Cambridge University Press, 1988.

___________, "Film-making in China: From the Cultural Revolution to 1981," The China Quarterly 94 (June 1983), 304-22.

___________, "The New Naturalism in Chinese Film," China Screen 4/1992, 36.

Crozier, Ralph C., "Chinese Movies and Modern Chinese History," Journal of Asian Studies 23:3 (May 1973), 501-505.

Dissanayake, Wimal, Cinema and Cultural Identity: Reflections on Films from Japan, India, and China. Lanham: University Press of America, 1988.

_________, ed. Colonialization and Nationalism in Asian Cinema. Bloomington: Indiana University Press, 1994.

_________, ed. Melodrama and Asian Cinema. New York: Cambridge University Press, 1993.

Hammond, Stefan and Mike Wilkins. Sex and Zen and A Bullet in the Head: The Essential Guide to Hong Kong’s Mind-Bending Films. New York: Fireside, 1996.

Hong Kong Cinema Survey 1946-1968. Hong Kong: The Urban Council, 1979.

Jameson, Fredric. The Geopolitical Aesthetic: Cinema and Space in the World System. Bloomington: Indiana University Press, 1992.

"Kung Fu Films. The Second Coming," Asiaweek (July 27 1979), 32-37.

Lee, Leo Ou-fan, "Traditions of Modern Chinese Cinema: Some Preliminary Explorations and Hypotheses," Perspectives on Chinese Cinema, ed. Berry, pp. 6-20.

Lent, John A, The Asian Film Industry. Austin: Univ. of Texas Press, 1990.

___________, "Asian Cinema: A Selected International Bibliography - Part II: Southeast and South Asia, Plus Taiwan and Korea," Journal of Film and Video (Summer 1985), 76-82.

Leyda, Jay, Dianying, Electric Shadows: An Account of Films and the Audience in China. Cambridge, MA: MIT Press, 1972.

Li, H. C. "Chinese Electric Shadows: A Selected Bibliography of Materials in English." Modern Chinese Literature 7.2 (1993), 117-153.

Lin Niantong, "A Study of the Theories of Chinese Cinema in their Relationship to Classical Aesthetics," Modern Chinese Literature 1:2 (Spring 1985), 185-200.

Nowell-Smith, Geoffrey, ed. The Oxford History of World Cinema. New York: Oxford University Press, 1996.

Pickowicz, Paul, "Early Chinese Cinema--The Era of Exploration: A Report on a Hong Kong Film Retrospective," Modern Chinese Literature 1:1 (1984), 135-38.

____________, "Melodramatic Representation and the 'May Fourth' Tradition of Chinese Cinema," From May Fourth to June Fourth, ed. Wang and Widmer.

____________, "Popular Cinema and Political Thought in Post-Mao China: Reflections on Official Pronouncements, Film, and the Film Audience," Unofficial China: Popular Culture and Thought in the People's Republic, ed. Perry Link et al. (Boulder: Westview, 1989), 37-53.

Rayns, Tony. More Electric Shadows: Chinese Cinema 1922-1984. London: British Film Institute, 1985.

_________, "The Position of Women in New Chinese Cinema," East-West Film Journal 1.2 (June 1987), 32-44.

_________, "Threads through the Labyrinth: Hong Kong Movies," Sight and Sound 43 (1974), 138-141.

__________ and Scott Meek. Electric Shadows: Chinese Cinema: 45 years of Chinese Cinema. London: British Film Institute, 1980.

Semsel, George S., Chinese Film: The State of the Art in the People's Republic. New York: Praeger, 1987.

__________, Hou Jianping, and Xia Hong, Chinese Film Theory: A Guide to the New Era. New York: Praeger, 1990.

_________, Chen Xihe, and Xia Hong, ed., Film in Contemporary China: Critical Debates, 1979-1989. Westport, CT: Praeger, 1993.

Stanbrook, Alan, "Hong Kong: The Chinese are Coming," Sight and Sound 55 (1986), 148-149.

__________, "The Worlds of Hou Hsiao-hsien," Sight and Sound 59 (1990), 120-4.

A Study of the Hong Kong Martial Arts Film. Hong Kong: Urban Council, 1980.

A Study of the Hong Kong Swordplay Film. Hong Kong: Urban Council, 1981.

Teo, Stephen. Hong Kong Cinema: The Extra Dimensions. London: British Film Institute, 1967.

Wang, David Der-wei and Ellen Widmer, ed., From May Fourth to June Fourth: Fiction and Film in Twentieth-Century China. Cambridge: Harvard University Press, 1993.

Yao, Esther C. M. "Cultural and Economic Dislocations: Filmic Phantasies of Chinese Women in the 1980s," Wide Angle 11.2

Zhang Xudong. Chinese Modernism in the Era of Reforms: Cultural Fever, Avant-Garde Fiction, and the New Chinese Cinema. Durham: Duke University Press, 1997.

Zhang Yingjin, The City in Modern Chinese Literature and Film: Configurations of Space, Time, and Gender. Stanford: Stanford Univ. Press, 1996.

_________, "Engendering Chinese Filmic Discourse of the 1930s: Configurations of Modern Women in Shanghai in Three Silent Films," positions 2.3 (1994).

_________, "From Wenmingxi (Civilized Play) to Yingxi (Shadow Play): The Foundation of the Shanghai Film Industry in the 1920s," Asian Cinema 9.1 (1997), 46-64.

On Actors, Directors, Studios

"Actor of All Seasons," Beijing Review 32:38 (September 1989), 45-46 [On Jiang Wen].

Barmè, Geremie, "Shi Hui: A Profile," Chinese Literature 8/1983, 96-104.

Berry, Chris, "Zhang Yimou: Film Maker with the Golden Touch," China Screen 3/1988, 16-17

Block, Alex Ben, The Legend of Bruce Lee. New York: Dell, 1974.

Chen, Baoguang, "Young Actress Gong Li, Chinese Literature 2/1993, 180-183.

Clark, Paul,"Reinventing China: The Fifth-Generation Filmmakers," Modern Chinese Literature 5.1 (1989), 121-136.

Jia Ming "Famous Chinese Film Artists Series (4): Zhao Dan" China Screen 1/1989, 34.

Li Erwei, "An Interview with Chen Kaige," China Screen 1/1994, 10-11.

_________, "Seeking Advancement Through Change--An Interview with Zhang Yimou," China Screen 3/1994, 10-11.

Li Tuo, "Narratives of History in the Cinematography of Hou Xiaoxian," positions 1.3 (1993), 805-815.

Luo Jun, "One With People: Xie Jin," China Screen 1/1992, 12-13.

Luo Xueying, "The Ambitions of Zhang Yimou," Chinese Literature 4/1990, 168-176.

__________, "Born For Art--Jiang Wen," China Screen 1/1994, 26-27.

__________, "The Pursuit of a Dream--Film Director Chen Kaige," Chinese Literature 3/1994, 164-168.

__________, "Wu Tianming's Rise to Fame," Chinese Literature 3/1989, 188-195.

Reynaud, Berenice. "Distant Mirror: The Cinema of Chen Kaige," The Independent October 1992, pp. 28-30.

Shao Mujun, "Notes on Red Sorghum," Chinese Literature 1/1989, 172-180.

Underwood, Laurie, "Survival of the Fittest: Playwright-Turned-Movie Director Stan Lai . . .," Free China Review 43:2 (1993), 36-41.

Wang Lan, "The Inner World of Pan Hong," China Screen 2/1994, 10-11.

Wang Shi, "Chen Kaige, a Film Auteur," China Screen 2/1991, 14-15.

Wang Yuejin, "Mixing Memory and Desire: Red Sorghum and the Chinese Version of Men and Women", Pacific Culture (Fall 1989), 31-53.

Film Criticism

Allen, Walter. "Romancing the Goons: Civil War Blockbuster Glamorizes Peking’s Aged Rulers," Far Eastern Economic Review October 25, 1990, pp. 30-31.

Chen Kaige and Tony Rayns, King of the Children and the New Chinese Cinema. London: Faber & Faber, 1989.

Chow, Rey. "Male Narcissism and National Culture: Subjectivity in Chen Kaige’s King of the Children," Camera Obscura 25-26 (1988), 9-39.

Gilliatt, Penelope, "The Current Cinema: Unlocked," New Yorker 11 (Sept 1978), 142-43.

Huang Yu-mei, "A New Trilogy Zooms In On Taiwan's 'Native Soil' Literature," Free China Review 33:10 (Oct. 1983), 48-53.

Li, H. C., "Color, Character, and Culture: On Yellow Earth, Black Cannon Incident, and Red Sorghum," Modern Chinese Literature 5.1 (1989), 91-120.

Li Su-yuan, "The Colour Cartoon Monkey Makes Havoc in Heaven," Chinese Literature 4 (1978), 114-118.

Li Wenbin, "The Film 'Red Sorghum'," China Reconstructs 37:7 (July 1988), 20-22.

Loh, Wai-fong. "From Romantic Love to Class Struggle: Some Reflections on the Film Liu Sanjie," Popular Chinese Literature and the Performing Arts in the People's Republic of China, 1949-1979, ed. Bonnie McDougall (Berkeley: University of California Press, 1984), 165-176.

McDougall, Bonnie S., The Yellow Earth: A Film by Chen Kaige with a Complete Translation of the Filmscript. Hong Kong: Chinese University Press, 1991.

Peng Chengliang, "A Bing, the Blind Folk Musician," Chinese Literature 5/1980, 98-103.

Sang Hu, et al, "The Making of a Film (White-Haired Girl)," Chinese Literature 7 (1972), 96-111.

Shao Mujun, "Notes on Red Sorghum," Chinese Literature," 1/1989, 172-180.

Silverthorne, Jeanne. "The Haunted Women" [Raise the Red Lantern], ArtForum 2 (1992), 85-88.

Wang Yuejin, "Mixing Memory and Desire: Red Sorghum and the Chinese Version of Man and Women," Public Culture (Fall, 1989), 31-53.

__________, "Old Well: A Womb or a Tomb?" Framework 35 (1988), 73-82.

Yau, Esther C.M, "Yellow Earth: Western Analysis and a Non-Western Text", Film Quarterly 41:2 (Winter 1987-8), 22-33.

Zhang Jia-xuan, "Review of The Big Parade," Film Quarterly 43.1 (Fall 1989), 57-59.

_________, "Review of Red Sorghum," Film Quarterly, 42:4 (Spring 1989), 41-3.

Zhang Yingjin, "Ideology of the Body in Red Sorghum: National Allegory, National Roots, and Third Cinema," East-West Film Journal 4.2 (June 1990), 38-53.