Chinese Film: Western Language References (1996)

Chinese 467
R. E. Hegel CHINESE FILM: WESTERN LANGUAGE REFERENCES (1996)

General Studies

"Anxious to Return," The Fifth Hong Kong International Film Festival, Hong Kong: The Urban Council, 1981, 141.

Aura Smith, Robert, "Film Fate in China Hangs on Winning Interior," Exhibitor's Herald-World (July 19 1930), 25.

Bao Yuheng, "The Mirror of Chinese Society: Chinese Film Classics (1905-1949)," Chinese Literature, 4/1985, 190-201.

Barisse, Rita, "The Chinese Way," Films and Filming 6 (March 1955), 5.

____________, "New Life - New Films," Films and Filming 1 (February 1955), 8-9.

Bergeron, Regis, Le Cinema Chinois: I, 1905-1949. Lausanne: Alfred Eibel, 1977.

____________, Le Cinema Chinois 1949-1983, 3 vols, Paris: L'Harmattan, 1983-4.

Berry, Chris, "Absurd Tendencies," China Screen 3/1987, 34.

____________, "China's New 'Women's Cinema,'"Camera Obscura 18 (September 1988), 8-19.

____________, "Chinese Cinema: A New Synthesis," Third World Affairs, 1986, 412-418.

____________, "Chinese Urban Cinema: Hyper-realism versus Absurdism," East-West Film Journal 3.1 (December 1988), 76-87.

____________, "Han and Non-Han: China's Avant-garde & the National Minorities Genre," China Screen 1/1986, 34.

____________, "Poisonous Weeds or National Treasures: Chinese Left Cinema in the 1930s," Jump Cut 34 (1989).

____________, "‘Race’ (¥Á ±Ú ): Chinese Film and the Politics of Nationalism." Cinema Journal 31.2 (1992), 45-58.

____________, "Stereotypes and Ambiguities: An Examination of the Feature Films of the Chinese Cultural Revolution," Journal of Asian Culture 6 (1982), 37-72.

____________ 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.

Bond, Ralph, "Chinese Films," Eastern World 5 (September 1951), 30-31.

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

Burton, Wilber, "Chinese Reactions to the Cinema," Asia 34:10 (1934), 594-600.

Butterfield, Fox, "China's Ardent Love Affair with the Movies," New York Times (15 June, 1980), 1D 28D.

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

Cargiri, P., "Electric Shadows: Chinese Cinema, Tony Rayns and Scott Meek," Film 91 (November 1980), 1.

Casiraghi, Ugo, Il Cinema Cinese, Questo Sconosciuto, Torino: Istituto di Cinema, 1960.

Castro, Alan, "Chinese Movies Come of Age," Asia Magazine 9:38 (September 21, 1969), 10-13.

Chang, Chun-hsiang, "Films for the Millions," China Reconstructs (Jan-Feb 1954), 45-9.

Chang, W, "Life Becomes Art on Taiwan Director's Film," Free China Journal (September 5 1988), 6.

Chen Bo, "Popular Realistic New Films," China Reconstructs (February 1985).

Chen, Ya-ting, "Films on War Themes," Chinese Literature 11/1965, 115-118.

Chi, Ying, "A Movie Projection Team which has Lodged its Roots Permanently in the Rural Areas," US Consulate (Hong Kong) Selections from China Mainland Magazines 509 (January 31, 1966), 44-9.

Chia, Chi, "Making Films for Today," China Reconstructs 7.3 (March 1958), 6-9.

Chiao, Hsiung-ping. "‘Trafficking’ in Chinese Films." Modern Chinese Literature 7 (1993), 97-101.

Chien, Amy, "China's Silver Screen," Free China Review 12 (December 1962), 33-8.

__________, "New Look in Chinese Movies," Free China Review 13 (December 1963), 21-6.

The China Factor in Hong Kong Cinema. Hong Kong: Urban Council, 1990.

"China's Film Industry Based on Realism," Beijing Review 32:47 (Nov. 20-26, 1989), 48-49.

"Chinese Film Retrospective Exhibition Held in Beijing," Chinese Literature 1/1984, 240.

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.

_________, "A Souvenir of Love" [Hong Kong film], Modern Chinese Literature 7 (1993), 59-78.

"Cinema and Revolution in China," American Behavioural Scientist 17.3 (Jan-Feb 1974), 328-359.

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

Cinemaya Staff, "Leftist Chinese Cinema of the Thirties,"Cineaste 17.3 (1990), 36-7.

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

___________, "The Cultural Revolution and Generational Succession in Chinese Filmmaking," paper presented at "New Perspectives on the Cultural Revolution" conference, Harvard University, May 1987.

___________, "Ethnic Minorities in Chinese Films: Cinema and the Exotic," East-West Film Journal 1:2 (June 1987), 15-31.

___________, "The Film Industry in the 1970s," Popular Chinese Literature and Performing Arts in the People's Republic of China 1949-1979, ed. Bonnie S. McDougall (Berkeley: University of California Press, 1984), pp. 177-196.

___________, "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.

"Communist China Film Industry Reviewed," Foreign Commerce Weekly (May 2, 1960), 39-40.

Corliss, Richard, "Chinese Movie Magic," Time (Asia edition) Jan. 29, 1996, pp. 38-46.

Coward, Rosalind and John Ellis, "Hong Kong/China 1981," Screen 22:4 (1981), 91-100.

"Crisis in the Film Industry," Beijing Review 28:29 (22 July 1985), 29.

Crozier, Ralph C., "Beyond East and West: The American Western and the Rise of the Chinese Swordplay Movie," The Journal of Popular Film 1:3 (1972), 229-243.

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

Dadameah, S.A, "Hong Kong's Booming Movie Business," Penang Star (August 2 1972), 13.

Delmar, R, and M. Nash, "Breaking with Old Ideas: Recent Chinese Films," Screen 17:4 (1977), 67-84.

Ding Qiao, "Chinese Cinema Today," China Reconstructs, August 1982, 62.

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.

"Documentaries Make 'Reel' Progress," Beijing Review 28:37 (16 Sept. 1985), 32-33.

Eberhard, Wolfram, The Chinese Silver Screen: Hong Kong and Taiwanese Motion Pictures in the 1960's. Taipei: Orient Cultural Service, 1972.

Elley, Derek, "China," Variety International Film Guide (1991), 119-122

"The Enemy on the Screen," China News Analysis 614 (June 3 1966), 1-7.

English, John W, "Readers Forum [Hong Kong]" Journal of Popular Film 2, pp. 85-86.

"Exploring Film Tradition," Beijing Review 27.19 (28 May 1984), 23-26.

"5th Generation Excitement," Asiaweek (May 10 1987), 47.

Fifty Years of Electric Shadows. Hong Kong: Urban Council, 1997.

"Film Attendance Exceeds 10,000 Million," Beijing Review 25:9 (1 March 1982), 27.

"Film in the Chinese People's Republic" Film Comment 2:2 (Spring 1964), 27-28.

Findlay, I, "Hong Kong's Cinema Survives, Despite Soaring Production Costs," Far-Eastern Economic Review (October 20 1983), 62.

Fonoroff, Paul, "Perhaps the Beginning of a Vital Film Culture," Far Eastern Economic Review 124 (May 3 1984), 54.

Forman, Harrison, "China Films Its Struggle," The Star Weekly (September 19 1942), 7.

Gabriel, Tesholme H, Third Cinema in the Third World: The Aesthetics of Liberation, UMI Research Press, Ann Arbor, 1982.

Government Information Office, Cinema in the Republic of China Yearbook, Taipei, 1980.

"Growth of China's Film Industry," Chinese Literature 1/1960, 115.

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.

Hewitt, Duncan, "From Landscapes to Lounge Lizards," China Now 136 (Spring 1991), 12-4.

Hoare, Stephanie. "Innovation Through Adaptation: The Use of Literature in New Taiwan Film and Its Consequences." Modern Chinese Literature 7 (1993), 33-58.

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

"Hong Kong to Clarify its Censorship Policies," Variety (May 13,1987), 56.

"Hong Kong Film-Makers: Outward Bound," Asiaweek (March 4 1983), 31-4.

Howkins, John, "Film", Mass Communication in China, New York: Longman, c.1982, 65-78.

Hsia Yen, "Problems of the Film Industry," China Quarterly 2 (April/June 1960), 69-72.

Hsiung Deh-ta, "The Chinese Cinema Today," China Quarterly 4 (1960), 82-7.

Hu Ren, "The Experimental Farm for New Chinese Films--The Youth Film Studio Under the Beijing Film Academy," China Screen 2/1990, 8-9.

Hua Chun-wu, "The New Cartoon Films," Chinese Literature 6/1960, 71-74.

Huang, Vivian. "Taiwan’s Social Realism: New Cinema Weathers Commercial Pressures and Fickle Support," The Independent January-February 1990, pp. 24-27.

Iorman, M, "A Visit to the Film Industry in China," American Cinematographer 60 (1979), 814-817.

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

Jarvie, Ian C, "Hong Kong Notes" Sight and Sound 33.1 (Winter 1963/4), 22.

___________, "Recent Books on Chinese Films," Journal of Popular Film 3, 351-355.

___________, Window on Hong Kong: A Sociological Study of the Hong Kong Film Industry and its Audience. Hong Kong: Centre of Asian Studies, Hong Kong University, 1977.

Kaplan, E. Ann, "Problematizing Cross-Cultural Analysis: The Case of Women in the Recent Chinese Cinema," Wide Angle 11:2 (1989), 40-50.

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

Lai Qiuyun, "What Do Chinese Film Audiences Appreciate," China Screen, 2/1990.

Lau, Jenny Kwok Wah, "Towards a Cultural Understanding of Cinema: A Comparison of Contemporary Films from the People's Republic of China and Hong Kong," Wide Angle 11:3 (1989), 42-49.

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

"Leftist Cinema of the '30s," Cinemaya 2 (1988-1989).

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.

Leslie, Charles, Films and Popular Culture in Asia.

Lew Wei-liang, "The Real Impact of Film Realism," Free China Review 34:9 (Sept 1984), 40-42.

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.

Li, Laura, "Taiwan's 'New Cinema' After the Vogue," Sinorama (November 1987), 96-101.

Li Yu, "Film Censorship," China Reconstructs 37:7 (July 1988), 63.

Liao Hsiang-hsiung, "The Six Classes of Chinese Characters and Cinematographic Art," West and East 13 (January 1968), 10-11.

Lin, Diana. "A Lifetime in Pictures [Taiwan film poster artist Chen Tzu-fu]." Free China Review 47.5 (1997), 48-55.

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.

Liu, Alan P.L, Film Industry in Communist China. Cambridge: Center for International Studies, Massachusetts Institute of Technology, 1965.

Lo, Kwai-Cheung. "Once Upon a Time: Technology Comes to Presence in China."Modern Chinese Literature 7 (1993), 79-96.

Logan, Bey. Hong Kong Action Cinema. Woodstock, NY: Overlook, 1995. Lu, Sheldon Hsiao-peng, ec. Transnational Chinese Cinemas: Identity, Nationhood, Gender. Honolulu: University of Hawai’i Press, 1997.

Lu, Su-sheng, A History of Cinema and Drama in Taiwan. Taipei, n.p, 1961.

Ma Ning. "Satisfied or Not: Desire and Discourse in the Chinese Comedy of the 1960s," East-West Film Journal 2.1 (December 1987), 32-49.

_______, "Symbolic Representation and Symbolic Violence: Chinese Family Melodrama of the Early 1980s," East-West Film Journal 4.1 (1989), 79-112.

_______, "The Textual and Critical Difference of Being Radical: Reconstructing Chinese Leftist Films of the 1930s," Wide Angle 11:2 (1989), 22-31.

Malcolm, Derek, "Taiwan," Sight and Sound 52 (1983), 81.

Mallow, Suni, "Peking Encounter," Filmmakers Monthly 14 (1981), 12-18.

Mandarin Films and Popular Songs: 40’s-60’s. Hong Kong: Urban Council, 1993.

Meek, Scott, "Eastern Approaches," Sight and Sound 48.3 (Summer 1979), 155-6.

________ and Tony Rayns, "Before the Cultural Revolution," Sight and Sound 49 (1980), 216-20.

Mei Chen, "1949-1989 China Film Distribution and Exhibition," China Screen 3/1990, 26-27.

Mei Lanfan, "The Filming of a Tradition," Eastern Horizon, 4:7 (July 1965), 13-22; 4:8 (August 1965), 43-9.

Minney, R.J, "Film Making in China," Film and TV Technician (Jan 1957).

Mintz, Marilyn O, The Martial Arts Film. New York: A.S. Barnes, 1978.

Montagu, Ivor, "Films and Film Makers in Communist China," The Cine-Technician (Jan-Feb 1953).

"Motion Pictures in the Far East," The Far Eastern Review 28(11) (November 1932), 532- 535.

"Movie Magazines," Asian Messenger, Winter 1981.

"Movies Should Entertain, Educate," Beijing Review 33:10 (March 5-11 1990), 12-13.

"New Themes in Chinese Movies," Asian Messenger, Winter 1981.

Ni Zhen, "Has the 'Fifth Generation' of Chinese Film Ended?," China Screen 1/1989, 14-15

North, C.J, "The Chinese Motion Picture Market," US Department of Commerce, Bureau of Foreign and Domestic Commerce, Trade Information Bulletin No 461, 1927.

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

Ombre Eletriche: Saggi e Ricerche sul Cinema Cinese, Milan: Electa, 1982.

"Opera Movies Over the Years," Beijing Review 27:33 (13 Aug 1984), 33.

Pearson, Margaret, "Film in China: The Domestic System and Foreign Imports," US Department of State Cultural Background Series, US Embassy, Beijing (January 21 1982), 1-2.

Peterson, Mark, "The Chinese Film Industry: Impressions," Filmmakers Monthly 14 (1981), 12-18.

Pickowicz, Paul, "Cinema and Revolution in China: Some Interpretive Themes," American Behavioral Scientist 17 (January-February 1974), 328-59.

____________, "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.

___________, "Sinifying and Popularizing Foreign Culture: From Maxim Gorky's The Lower Depths to Huang Zoulin's Ye Dian," Modern Chinese Literature 7.2 (1993).

___________, "The Theme of Spiritual Pollution in Chinese Films of the 1930s," Modern China 17.1 (1991).

Qi Ming, "Intellectuals Problems Spotlighted by New Film," China Daily, March 9, 1983.

Quiquemelle, Marie-Claire, and Jean-Loup Passek, eds, Le Cinema Chinois. Paris, Centre George Pompidou, 1985.

Ranvaud, D, "Festivals: Pesaro-Chinese Cinema," Framework 10 (Spring 1979), 40-42.

Rayns, Tony, "Chinese Changes," Sight and Sound 54(1) (Winter 1984/5), 24-9.

_________, "Director: King Hu," Sight and Sound 45 (1976), 8-13.

_________, "Hong Kong: Chinese Breakthrough," Sight and Sound 54 (Summer 1985), 154-5.

_________, "An Introduction to the Aesthetics and Politics of Chinese Cinema," On Film 14 (1985).

_________, More Electric Shadows: Chinese Cinema 1922-1984 (Programme notes), 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.

Reilly, William J, "China Kicks in With a Champion [F. Marshall Sanderson]," Moving Picture World (April 26 1919), 499-500.

Renne, Mark, "Von Tranen nasse Augen: Anmerkungen zum chinesischen Film," Die Horen v30(2) (138), 289-297.

The Restless Breed: Cantonese Stars of the Sixties. Hong Kong: Urban Council, 1996.

Rhodes, Ted, "The Chinese Film Industry: An Overview," Filmmakers Monthly 12 (1979), 14-8.

Scher, Mark J, "Film in China," Film Comment 5:2 (Spring 1969), 8-21.

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.

Shao Mujun, "Chinese Film amidst the Tide of Reform," East-West Film Journal 1.1 (December 1986), 59-68.

__________, "Chinese Films: 1979-89" China Screen 1989/3, 11.

Shih, Chung-wen, "Dominant Themes and Values in Chinese Films," China Film Week American Film Institute, 1981.

__________, "Life in Chinese Cinema: Reality or Illusion," China Film Week, American Film Institute, April 1984.

Specter, M, "Kung Fu Loses the Cinematic Fight to a New Wave of Realism," Far Eastern Economic Review (December 22 1983), 82-3.

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

__________, "Hong Kong: Local Heroes and Heroines," Sight and Sound 59 (1990), 148-9.

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

Standish, Isolde, "Korean Cinema and the New Realism: Text and Context," East-West Film Journal (1993).

_________, "United in Han: Korean Cinema and the 'New Wave'," Korea Journal 32.4 (1992), 109-118.

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.

Tang, B.B, "Cinema in the Republic of China," Master Thesis, California State University, Northridge.

Teng, C, "Film Critics in the Limelight," Sinorama (November 1987), 102-5.

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

Thirty Years of Chinese Cinema, Melbourne: Realist Film Association, 1952.

Tierney, Kevin, "Saturday Night at the Movies in Lanzhou," Sight and Sound 52 (1983), 114-7.

Tobias, M, "The Cinema in Taiwan," Cinema India-International (1987a), 115.

_________, "The Hong Kong Film Industry Grew to be a Flourishing Biz From Ancient Roots in 1898," Variety (May 6 1987), 520.

Tokar, John, "Concepts and Categories in Chinese and Western Films," Journal of Asian Affairs 3 (Spring 1978), 212-27.

Tsai Chu-sheng, "The Chinese Film Industry," People's China (June 16 1950); The Cine-Technician (Sept-Oct 1950); Culture and Education in New China (October 1951).

United States, Trade Information Bulletin 467: Chinese Motion Picture Market, Washington, Government Printing Office, 1927.

_____________, Trade Information Bulletin 722: Motion Pictures in China, Washington, Government Printing Office, 1930.

Wagner, Robert W, "Cinema and Film Training in the People's Republic of China," University Film Journal 32 (Fall 1980), 63-6.

Wan, Laiming, "Animated Film Comes of Age," China Review 9 (June 1960), 32-33.

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.

Wang Fei-yun, "Flowers Blooming in Barren Soil [Taiwan cinema]," Free China Review 45.2 1995), 4-17.

Wang Ping-chih, "History of the Chinese Cinema," Chinese Literature 6 (1963), 97-107.

Wang Yuejin, "The Cinematic Other and the Cultural Self? De-centering the Cultural Identity on Cinema," Wide Angle 11 (1989), 32-39.

Ward, Julian, "Tarnishing the Silver Screen," China Now 136 (Spring 1990), 24-6.

Waugh, Thomas, "How Yukong Moved the Mountains: Filming the Cultural Revolution," Jump Cut 12/13 (December 1976) 3-6.

Way, E.T, "Motion Pictures in China," US Deparment of Commerce, Bureau of Foreign and Domestic Commerce, Trade Information Bulletin No 722, 1930.

Weakland, John H, "Chinese Film Images of Invasion and Resistence," China Quarterly 47 (1971), 439-470.

__________, "Conflicts Between Love and Family Relationships in Chinese Films," Journal of Popular Film 2, 290-8.

__________, "Real and Reel Life in Hong Kong - Film Studies of Cultural Adaptation," Journal of Asian and African Studies.

__________, "Themes in Chinese Communist Films," American Anthropologist 68 (April 1966), 478-484.

Wei Liming, "Money Motions Film Trend," Beijing Review 32:11 (March 1989), 46.

Wiley, Christopher, ed., A Film Guide on China. Washington, DC: National Committee on US-China Relations Inc, 1974.

Wong Kin-yip, "From Page to Screen," Free China Review 42.2 (February1992), 57-63.

Xiao Ji, "Beijing Conference on Feature Film Production" Chinese Literature 4 (1990), 165-67.

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

Yao Hsin-nung, "Chinese Movies," T'ien Hsia Monthly 4:4 (April 1937).

Zhang Wei, "Chinese Films: Can They Go to the World?" Beijing Review 31:1 (Jan. 4-10, 1988), 23-28.

__________, "Chinese Film Wins World Acclaim," Beijing Review 31:1 (Jan. 4-10, 1988), 40 42.

__________, "Culture in Debate: The River Dies Young," Beijing Review 32:4 (January 1989), 23-28.

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].

Allen, Richard, "An Interview with Ma Lin," Framework 22/23 (Autumn 1983), 75.

"`August 1' Film Studio," Beijing Review 25:37 (13 September 1982), 45-46.

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

Berry, Chris, "Hu Mei: Woman Film Director and PLA Officer," China Reconstructs 37:4 (April 1988), 54-56.

_____________, "Interview with Hu Mei," Camera Obscura 18 (September 1988), 32-41.

_____________, "Interview with Peng Xiaolan," Camera Obscura 18(September 1988), 26-31.

_____________, "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.

Chai Xiaofeng, "Vigor, Resourcefulness, Sobriety--An Introduction to Director Huang Jianxin," China Screen 4/1993, 20-21.

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

Chen Kaige, "Breaking the Circle: Cinema and Cultural Change in China," Cineaste 17.3 (1990), 28-31.

Chen Zhaoyu, "Film Actress Bai Yang," Chinese Literature 4/1985, 202-206.

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

Fen Chih-lung, "A Film Actor Talks on His Art," China Reconstructs 10:10 (Oct. 1961), 40-42.

"Film Actress Wins 1985's Top Award," Beijing Review 29:31 (4 August 1986), 34.

"Film Awards Pick New Stars," Beijing Review 27:30 (23 July 1984), 33-34.

Fonoroff, Paul, "Lost Legends [Hong Kong star Nancy Chan]," Discovery 20.6 (1992), 56-64.

Gao Gejin, "Ye Han, Scriptwriter," Chinese Literature 6/1983, 82-88.

Gao Shuguang, "8000 Li of Cloud and Moon [1947, dir. Shi Dongshan]," China Screen 1993, 29-30.

Guo Li, "Introduction to Gu Changwei," China Screen 3/1993, 14-15.

Hong Lanxing, "Teng Wenji Won Best Director," Beijing Review 33:45 (November 1990), 44.

Hwang, Jim, "Turning Talent Into Awards [director Tsai Ming-liang]," Free China Review 45,2 (1995), 18-19.

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

Jiang Huaiyan, "Fang Shu, an Ambitious Actress," Chinese Literature 3/1990, 186-193.

Li Chensheng, "The Film Director Wang Haowei," Chinese Literature 2/1988, 170-177.

Li, Cheuk-to, "Eight Films of Sun Yu: A Gentle Discourse on a Genius," Cinemaya 11 (1991).

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

_________, "Lu Wei, One of China's Best Scriptwriters," China Screen 4/1994,10-11.

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

_________, "Siqin Gaowa, A Sincere Actress," China Screen 4/1993, 16-17.

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

Lu Ren, "Changchun Film Studio-The Cradle of Cinema in New China," China Screen 4/1990, 10-11.

Lu Yun, "Wang Danfeng: A Shanghai Screen Star,"Beijing Review 32:15 (April 1989), 32.

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.

_________, "Return to Commonality--About Director He Qun," China Screen 3/1994, 24-25.

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

"Magazine Names 10 Top Film Stars," Beijing Review 32:44 (Oct. 30-Nov. 5, 1989), 45-46.

"A Peoples' Artist," Beijing Review 25:32 (9 Aug. 1982), 28-29.

"Prize-Winning Films in 1983," Beijing Review 27:23 (4 June 1984), 32-33.

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

The Restless Breed: Cantonese Stars of the Sixties. Hong Kong: Urban Council, 1996.

Sang Sang, "Gong Li, the Queen of Venice," China Screen 1/1994, 12-13.

Shackman, Paul, "Evergreen's Hou Sparks Realist Film Trend," Free China Review 35:4 (April 1985), 32-35.

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

"Shen Begins to Show Talent," Beijing Review 32:15 (April 1989), 44.

Sheng, Virginia, "The Father Figure of Taiwan Film [Lang Hsiung]," Free China Review 45.2 (1995), 20-23.

_________, "Youthful Eyes, Experienced Lens [cinematographer Chang Da-long]," Free China Review 45.2 (1995), 24-27.

Song Lin & Bai Chuan, "Action at Shanghai's Animation Film Studio", China Screen 4/1988, 12-13.

Tang Ning, "Pure Artistic Spirit--The Famous Director Huang Shuqin," China Screen 3/1993, 16-17.

Tian Shu, "Zhang Fengyi Stepping onto the Stage of World Cinema," China Screen

1/1994, 30-31.

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

Wang Bin, "About Li Baotian," China Screen 3/1992, 24-25.

_________, "'Comic Star' Ge You," China Screen 2/1994, 28-29.

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.

Wang Yunman, "The Development of Film Art in China Part XI The Wenhua Film Studio", China Screen 3/1987, 30-31

Wilson, Patricia, ". . .A Real Interpreter Who Can Also Act," Chinese Literature 3/1982, 55-75.

__________, "`. . .I Sought the Jewel of Art': Introducing Zhao Dan," Chinese Literature 4/1980, 73-92.

Wong, Kathy, "That Fictional Woman Who Has So Long Mesmerized China Comes to Life on the Screen," Free China Review," 34:8 (August 1984), 54-55.

Xiao Hema, "About Filmmaker Zhou Xiaowen," China Screen 2/1994, 12-13.

Xiao Li, "Huang Shuqin--A Woman Film Director," Chinese Literature 2/1992, 178-181.

_________. "Rising Star Jiang Wen," Chinese Literature 2/1991, 192-95.

Xie F, "My View of the Concept of Film," Film Art (December 1984).

Xu Xiaoping, "Shanghai Film Studio Enters Its Fourth Decade," China Screen 1989/4, 12-13.

Yang Juan, "Bai Fengxi and Her Women's Trilogy," Chinese Literature 2/1990, 128-137.

Yun Duo, "Liu Miaomiao--A Fervent Director," China Screen 3/1994, 22-23.

Zhang Haoyin, "A Woman Director More Manly Than Men," China Screen 3/1993, 20-21.

Zhu Yuchao, "Films: Looking Up and Looking Out," China Reconstructs 35:6 (June 1986), 26-29.

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.

"'Battle of Taiezhuang': History As It Was," (film review) Beijing Review 30:18 (4 May 1987), 32-33.

Berry, Chris, "The Sublimative Text: Sex and Revolution in The Big Road [The Highway]," East-West Film Journal, 2(2) (June 1988).

"Best Films of the Year," China Reconstructs 12:9 (Sept. 1963), 18-19.

"'Black Cannon' Makes Its Move," Beijing Review 29:37 (15 Sept. 86), 31.

"Blood Boils," Beijing Review 27:13 (26 March 1984), 32-33.

"Call of the Home Village," Beijing Review 25:16 (19 April 1982), 28-29.

"Celluloid Tributes to Revolutionary Leader," Beijing Review 29:46 (17 Nov 1986), 30-32.

Chang Tien, "Heroic Proletarian Images Occupy the Screen--Comments on Some New Feature Films," China Reconstructs 17:33 (16 August 1974), 13-16.

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

Chen Pao-hsu. "Ah Chung [by Chang Tso-chi]." Free China Review 47.5 (1997), 56-60.

Chi, Pen-yu, "Patriotism or National Betrayal? On the Reactionary Film 'Inside Story of the Ching Court,'" Peking Review (April 7, 1967), 5-16.

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

"Cinema: 'At Middle Age'," Beijing Review 26:13 (28 March 1983), 28-29.

"Cinema: Best Productions Awarded," Beijing Review 24:31 (3 August 1981), 20-21.

"Cinema: 'Camel Xiangzi'," Beijing Review 25:45 (Nov 8, 1982), 28-29.

"Cinema: A Rich Crop," Beijing Review 23:19 (12 May 1980), 28-29.

"Criticism of Reactionary Films, Chinese Literature, 7-8 (1968), 144-45.

Eichenberger, Ambros, "Cinema After Mao," Frankfurter Rundschau (Oct 2, 1982), World Press Review (January 1983), 61.

"Epic Film Tells CPC's Early History," Beijing Review 34:30 (August 1991), 36-37.

"Farmers Blow Their Own Horn," Beijing Review 29:12 (24 March 1986), 24-26.

Feng Xian, "New Animation Film The Story of the Book of Heaven," Chinese Literature 1 (1983), 106-08.

"Festival of Films of Model Revolutionary Theatrical Works," Chinese Literature 7 (1974), 97-98.

"Film: Long Live Youth, Beijing Review 26:47 (21 Nov. 1983), 29-30.

"Film Prizewinners," China Reconstructs, 11:9 (Sept. 1962), 30-31.

"The Film Victory Is in Sight, Chinese Literature 3 (1966), 137.

"Four New Revolutionary Films," Chinese Literature 12 (1967), 121.

"Full-Length Documentary in Colour Chairman Mao with A Million Members of the Cultural Revolutionary Army," Chinese Literature 12 (1966), 126-27.

Gao Miao, "Young People on the Silver Screen," Beijing Review 26:24(13 June 1983), 25-27.

Ge Baoquan, "The Effendi, A New Cartoon Film," Chinese Literature 7/1980, 105-10.

Gilfillan, Jule, "'Terrorists'--Victims and Voyeurs," Free China Review 37.7 (July 1987), 50-52.

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

"Homely Actors Popular on Screen," Beijing Review 34:38 (September 1991), 44.

Hong Lanxing, "Caught in Passion," Beijing Review 34:19 (May 13-19, 1991), 40-41.

_________, "Children's Films Go Globewide," Beijing Review 34:29 (July 1991), 44-45.

_________, "Good Morning, Beijing," Beijing Review 34:17 (April 29 - May 5,1991), 44-45.

_________, "A Great but Ordinary Man on Show," Beijing Review 34:26 (July 1991), 40-41.

_________, "Movie Cameras Scan Daily Life," Beijing Review 34:24 (June 1991), 28-30.

_________, "Remedy for Film Market Doldrums," Beijing Review 34:37 (Spetember 1991), 26-28.

Houn, Franklin W, "Motion Pictures and Propaganda in Communist China," Journalism Quarterly 34 (1957), 481-92.

Hsin Hua, "Mass Debate on Revolution in Literature and Art," Chinese Literature 6 (1976), 102-08.

Hua Yen, "On Antonioni's Self-Defense," Chinese Literature 6 (1974), 107-11.

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

__________, "The Wheel of Life Rolls Three Times--And Fate Grips Its Playthings," Free China Review 32:9 (Sept 1983), 22-29.

Leyda, Jay, "China's Dr. Bethune," Film Quarterly 32:2 (Winter 1978-9), 63-64.

"Li Shuang-shuang (A Review)," Chinese Literature 5 (1963), 105-112.

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.

Li Wen-hua, "Strive to Depict Heroic Characters of the Proletariat," Chinese Literature 10 (1976), 111-114.

Liu, Alan P.L, "Movies and Modernization in Communist China,"Journalism Quarterly 43 (Summer 1966), 319-324.

"Liao Zhonghai," Beijing Review 26:52 (26 Dec. 1983), 30.

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.

Ma Ning, "New Chinese Cinema: A critical Acount of the Fifth Generation," Cineaste v17(3) (1990), 36-7.

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

"More Pernicious Films Criticized," Chinese Literature 10 (1966), 166-67.

"National Conference on Films," Chinese Literature 4 (1982), 141-42.

"Nationwide Film Festival of Model Revolutionary Theatrical Works," Beijing Review 17:18 (3 May 1974), 7.

"New Feature Films in Colour," Chinese Literature 4 (1974), 102-04.

"New Film: The Second Spring," Beijing Review 19:1 (Jan 2, 1976), 29-30.

"New films Welcomed by Workers, Peasants and Soldiers," Chinese Literature 12/1968, 120-21.

"New Historical Films," Beijing Review 26:41 (10 Oct. 1983), 28-29.

"Peking Opera Shachiapang--The Screen Version," Chinese Literature 12/1971, 100-06.

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

Qin Yuquan, "A New Film From A Slave to a General," Chinese Literature 1 (1980), 105-109.

"Reactionary Films Criticized," Peking Review (1 September 1967) 18.

"Revolutionary War Is Excellent!--A Review of the Reactionary Film A Father Visits His Son," Chinese Literature 5 (1970), 95-107.

"Rural Romance is New Film Treat," [Border Town] Beijing Review 28:30 (29 July 1985), 32-33.

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.

Shu Hsin, "A Song in Praise of the Cultural Revolution," Chinese Literature 10/1976, 88-92.

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

"Story of Wushu Players," Beijing Review 26:36 (5 Sept. 1983), 29-30.

"Three Monks," Beijing Review 25:11 (15 March 1982), 27-28.

"Three New Films Open on New Year's Day," Chinese Literature 3/1975, 122-23.

Tien Shih, "Breaking with Old Ideas," Chinese Literature 5/1976, 91-98.

Ting Yuan-chang, "A Film of Great Beauty," Chinese Literature 5/1971, 101-06.

Tirone, Gail, "'Young Birds...no nests'," Free China Review 37:3 (March 1987), 59-61.

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.

Wangdui, "How I acted the Part of Jampa," Chinese Literature 1/1965, 85-96.

Wei Yu, "Introducing some New Feature Films," Chinese Literature 5/1974, 121-30.

"Western Wonders and Chinese Film Myth," China Screen 1/1994, 28-29.

"What Was the Film 'Spring Shoot' After?" Beijing Review 43 (21 Oct. 1977), 24-25.

Wilson, Patricia, "One Little Official," Chinese Literature 11/1980, 113-24.

"Workers, Peasants, and Soldiers Criticize Bad Films," Chinese Literature 8/1966, 143-44.

Xiao Guowen, "A Review of River Elegy," Chinese Literature 2/1990, 175-178.

Yang Quan, "The New Feature Film Rickshaw Boy" Chinese Literature 7/1983, 118-23.

Yang Shuxin, "Some Chinese Cartoon Films," Chinese Literature 12/1979, 118-22.

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

Yi Jiayan, "What Does 'The River Dies Young' Advocate?" Beijing Review 32.34 (August 1989), 14-21.

Yu Chou-hung, "The Colour Film 'Taking Tiger Mountain by Strategy," Chinese Literature 2 (1971), 86-94.

Yuan, Yvonne, "New Recipes for the Film Industry--Gourmet Fare for Moviegoers," Free China Review 32:10 (Oct. 1982), 48-49.

Zhang Baiqing, "Rural and Urban China in the 1980's: Two Prize-Winning Films," Chinese Literature (Winter 1984), 212-214.

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 Wei, "Culture in Debate: The River Dies Young," Beijing Review 32:4 (Jan. 1989), 23-28.

__________, "New Film Sparks Controversy and Acclaim," Beijing Review 29:6 & 7 (Feb 10, 1986), 30-33.

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.

Translated Film Scenarios

"Beat the Aggressors," Chinese Literature 12 (1971), 3-40.

Chun Chao and Chou Chieh, "Breaking with Old Ideas," Chinese Literature 6 (1976), 6-80.

"A Cock Crows at Midnight," Chinese Literature 4 (1970), 39-54.

"Dr. Norman Bethune in China," Chinese Literature 2 (1978), 3-65.

"Guerrillas of the Plain," Chinese Literature 6 (1969), 9-60.

"Heroic Sisters on the Grassland," Chinese Literature 2 (1970), 43-62.

Huang Tsung-chiang, "Serfs," Chinese Literature 1 (1965), 3-45.

"Little Soldier Chang Ka," Chinese Literature 5 (1968), 27-80.

"Spring Shoots," Chinese Literature 10 (1976), 3-78.

"Tunnel Warfare," Chinese Literature 5 (1971), 3-30.

Bibliographic Sources

Li, H. C. "Chinese Electric Shadows: A Selected Bibliography of Materials in English." Modern Chinese Literature 7 (1993), 117-153.