NYU DEPARTMENT OF CINEMA STUDIES
Chinese-language Cinema Bibliography
(PRC, Taiwan, and Hong Kong)
General
Book and Journal Articles
Berry, Chris, ed. Perspectives on Chinese Cinema. Ithaca: Cornell East Asia Papers,
1985. Rpt. London: British Film Institute, 1991.
-----. "'Race' (minzu): Chinese Film and the Politics of Nationalism." Cinema Journal 31. 2 (1992): 45-58.
-----. "If China Can Say No, Can China Make Movies? Or, Do Movies Make China? Rethinking National Cinema
and National Agency." Boundary 2. Special Issue ed. Rey Chow. 25. 2 (Fall 1998): 129-50.
-----. Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003.
-----. Postsocialist Cinema in the Post-Mao China: The Cultural Revolution After the Cultural Revolution. NY:
Routledge Curzon, 2004.
Berry, Chris and Mary Farquhar. “From National Cinemas to Cinema and the National: Rethinking the National in
Transnational Chinese Cinemas.” Journal of Modern Literature in Chinese 4. 2 (2001): 109-22.
----. China on Screen: Cinema and Nation. New York: Columbia University Press, 2006.
Bordwell, David. "Transcultural Spaces: Toward a Poetics of Chinese Film." Post Script 20. 2/3 (Winter/Spring
2001): 9-24.
Braester, Yomi. Witness Against History: Literature, Film, and Public Discourse in Twentieth-Century China.
Stanford: Stanford UP, 2003.
Browne, Nick, et.al., eds. New Chinese Cinemas: Forms, Identities, Politics. Cambridge UP, 1994.
----- "On Western Critiques of Chinese Film." Asian Cinema 16.2 (Fall 2005): 23-35.
Chow, Rey. Primitive Passsions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema. NY:
Columbia UP, 1995.
-----. Sentimental Fabulations, Contemporary Chinese Films: Attachment in the Age of Global Visuality. NY:
Columbia UP, 2007.
-----. "Violence in the Other Country: China as Crisis, Spectacle, and Woman." In Chandra Talpade Mohanty, ed.
Third World Women and the Politics of Feminism. Bloomington: Indiana University Press, 1991, 81-100.
Clark, Paul. Chinese Cinema: Culture and Politics Since 1949. New York: Cambridge UP, 1988
Cui, Shuqin. Women Through the Lens: Gender and Nation in a Century of Chinese Cinema. Honolulu:
University of Hawaii Press, 2003.
Curtin, Michael. Playing to the World's Biggest Audience: The Goblalization of Chinese Film and TV. Berkeley:
University of California Press, 2007.
Dai Jinhua. Cinema and Desire: Feminist Marxism and Cultural Politics in the Work of Dai Jinhua. Eds. Wang,
1
Jing and Tani Barlow. London: Verso, 2002.
-----. "Invisible Women: Contemporary Chinese and Women's Film." Positions: east asian cultures critique 3. 1
(1995): 254-80.
de Kloet, Jeroen. "Crossing the Threshold: Chinese Cinema Studies in the Twenty-first Century." Journal of
Chinese Cinemas 1, 1 (Jan. 2007): 63-70.
Dissanayake, Wimal, ed. Cinema and Cultural Identity: Reflections on Films from Japan, India and China.
Lanham, MD : University Press of America, 1988.
Dissanayake, Wimal, ed. Melodrama and Asian Cinema. Cambridge; New York: Cambridge University Press,
1993.
Donald, Stephanie. Public Secrets, Public Spaces: Cinema and Civility in China. Lanham, MD: Rowan and
Littlefield, 2000.
-----. "Chinese Women and Chinese Film: Problems with History and Feminism." In Einhorn and Eileen Janes Yeo,
eds., Women and Market Societies: Crisis and Opportunity. Aldershot, UK ; Brookfield, Vt., US: E. Elgar, 1995,
84-95.
-----. "Women Reading Chinese Films: Between Orientalism and Silence." Screen 36. 4 (1995): 325-40.
Downing, John, ed. Film and Politics in the Third World. NY: Praeger, 1987.
Erlich, Linda and David Desser, eds., Cinematic Landscapes: Observations on the Visual Arts and Cinema of
China and Japan. Austin: University of Texas Press, 1994.
Farquhar, Mary and Chris Berry. "Shadow Opera: Towards a New Archeology of the Chinese Cinema." Post Script
20. 2/3 (Winter/Spring 2001): 25-42.
Fu, Poshek. Between Shanghai and Hong Kong: The Politics of Chinese Cinemas. Stanford: Stanford University
Press, 2003.
Grossman, Andrew, ed. Queer Asian Cinema: Shadows in the Shade. NY: Harrington Press, 2000.
Hou, Hsiao-hsien. "In Search of New Genres and Directions for Asian Cinema." Translated, Edited and
Introduced by Lin Wenchi. Rouge 1 (2003).
Hu, Jubin. Projecting a Nation: Chinese Cinema Before 1949. HK: Hong Kong University Press, 2003.
Kaplan, Ann E. and Wang Ban, eds. Trauma and Cinema: Cross-cultural Explorations. HK: HK University Press,
2004.
Kuoshu, Harry. Lightness of Being in China: Adaptation and Discursive Figuration in Cinema and Theater. New
York: Peter Lang, 1999.
-----, ed. Celluloid China: Cinematic Encounters with Culture and Society. Carbondale: Southern Illinois
University Press, 2002.
Lau, Jenny Kwok Wah, ed. Multiple Modernities: Cinemas and Popular Medias in Transcultural Asia. Philadelphia:
Temple University Press, 2004.
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. Lent, John. The Asian
Film Industry. Austin: University of Texas Press, 1990.
2
Lent, John, ed. Animation in Asia and the Pacific. Bloomington: Indiana UP, 2001.
Leyda, Jay. Dianying: an Account of Film and the Film Audience in China. Cambridge: MIT, 1972.
Lim, Song Hwee. "Celluloid Comrades: Male Homosexuality in Chinese Cinemas of the 1990s." China
Information 16, 1 (2002): 68-88.
-----. Celluloid Comrades: Representations of Male Homosexuality in Contemporary Chinese Cinema. Honolulu:
University of Hawai'i Press, 2006.
Lin Niantong. "A Study of the Theories of Chinese Cinema in their Relationship to Classical Aesthetics." Modern
Chinese Literature I.2 (Spring, 1985): 18-33.
Liu, Alan. The Film Industry in Communist China. Cambridge: Center for International Studies, MIT, 1965.
Lu, Sheldon Hsiao-peng. China, Transnational Visuality, Global Postmodernity. Stanford: Stanford University
Press, 2001.
-----. "Problems and Prospects of Teaching Asian Cinema in America: A Symposium." Special section of Asian
Cinema 11. 1 (Spring/Summer 2000): 143-91.
Lu, Sheldon Hsiao-peng, ed. Transnational Chinese Cinema: Identity, Nationhood, Gender. Honolulu: University
of Hawaii Press, 1997.
Lu, Sheldon H. and Yueh-yu Yeh, eds. Chinese-Language Films: Historiography, Poetics, Politics. Honolulu:
University of Hawai'i Press, 2005.
-----. "Special Double Issue: Chinese Cinema." Post Script 20. 2/3 (Winter/Spring 2001). Lu, Tonglin.
Confronting Modernity in the Cinemas of Taiwan and Mainland China. Cambridge: Cambridge UP, 2002.
Marchetti, Gina. From Tiananmen to Times Sqaure: Transnational China and the Chinese Diaspora on Global
Screens, 1989-1997. Philadelphia: Temple UP, 2006.
McDougall, Bonnie, ed. Popular Chinese Literature and Performing Arts in the People's Republic of China, 1949-
1979. Berkeley: University of California Press, 1984.
Noth, Jochen, et. al. China Avant-Garde: Counter Currents in Art and Culture. HK and NY, 1994.
Pang, Laikwan. Building a New Cinema in China : The ChineseLeft-wing Cinema Movement, 1932-1937.
Lanham : Rowman & Littlefield, 2002.
-----. Cultural Control and Globalization in Asia: Piracy and Copyright in Asian Cinema. RoutledgeCurzon, 2005.
Pang, Laikwan and Day Kiu-miu Wong, eds. Masculinities and Hong Kong Cinema. HK: Hong Kong University
Press, 2006.
Rayns, Tony. "The Position of Women in New Chinese Cinema." East-West Film Journal 1. 2 (1987): 32-44.
Rayns, T. and S. Meek, eds. Electric Shadows: 45 Years of Chinese Cinema. London: BFI, 1980.
Reynaud, Berenice. "Chinese Cinema." In John Hill and Pamela Gibson, eds. World Cinema: Critical Approaches.
NY: Oxford UP, 2000, 159-65.
Semsel, George, ed. Chinese Film: The State of the Art in the People's Republic. NY: Praeger, 1987.
-----. Chinese Film Theory: A Guide to the New Era. NY: Praeger, 1990.
-----. Film in Contemporary China: Critical Debates, 1979-1989. Westport: Praeger, 1993.
Server, Lee. Asian Pop Cinema: Bombay to Tokyo. San Francisco: Chronicle Books, 1999.
3
Shen, Vivian. The Origins of Left-Wing Cinema in China, 1932-37. New York: Routledge, 2005.
Shih, Shu-mei. Visuality and Identity: Sinophone Articulations across the Pacific. Berkeley: University of
California Press, 2007.
Silbergeld, Jerome. China into Film: Frames of Reference in Contemporary Chinese Cinema. London: Reaktion,
1999.
-----. Hitchcock with a Chinese Face: Cinematic Doubles, Oedipal Triangles, and China's Moral Voice. Seattle:
University of Washington Press, 2004.
Tam, Kwok-kan and Wimal Dissanayake. New Chinese Cinema. NY: Oxford University Press, 1998.
Tang, Xiaobing. "Rural Women and Social Change in New China Cinema: From Li Shuangshuang to Ermo."
positions 11. 3 (Winter 2003): 647-74.
Tsai, Eva. "Kaneshiro Takeshi: Transnational Stardom and the Media and Culture Industries in Asia's
Global/Postcolonial Age." Modern Chinese Literature and Culture 17. 1 (Spring 2005): 100-32.
Wang, Ban. "Trauma, Visuality, and History in Chinese Literature and Film." In Ann E. Kaplan and Wang Ban,
eds., Trauma and Cinema: Cross-cultural Explorations. HK: HK University Press, 2004, 217-40.
Wang, Shujen. Framing Piracy: Globalization and Film Distribution in Greater China. Lanham, MD: Rowman and
Littlefield, 2003.
Wu, Dingbao and Patrick Murphy. Handbook of Chinese Popular Culture. Westport: Greenwood Press, 1994.
Xiao, Zhiwei. "The Opium War in the Movies: History, Politics and Propaganda." Asian Cinema 11. 1
(Spring/Summer 2000): 68-83.
Yau, Esther C. M. "China." In William Luhr, ed. World Cinema Since 1945. NY: Ungar Press, 1987, 116-39.
-----. "International Fantasy and the 'New Chinese Cinema.'" Quarterly Review of Film and Video 14. 3 (1993):
95-107.
-----. "Is China the End of Hermeneutics?; or, Political and Cultural Usage of Non-Han Women in Mainland
Chinese Films". In D. Carson, L. Dittmar, and J.R. Welsch, eds.,
Multiple Voices in Feminist Film Criticism. Minneapolis: University of Minnesota Press, 1994, 280-292.
Yau, Esther C. M. and Kyung Hyum Kim, guest editors. "Asia Pacific Cinemas: A Spectral Surface." Special issue
of positions 9. 2 (Fall 2001).
Yang, Jeff. Once Upon a Time in China: A Guide to Hong Kong, Taiwanese, and Mainland Chinese Cinema. NY:
Simon and Schuster, 2003.
Zha, Jianying. China Pop: How Soap Operas, Tabloids, and Bestsellers are Transforming a Culture. New York:
New Press, 1995.
Zhang, Xudong. Chinese Modernism in the Era of Reforms: Cultural Fever, Avant-Garde Fiction, and 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 UP, 1996.
-----. Screening China: Critical Interventions, Cinematic Reconfigurations, and the Transnational Imaginary in
Contemporary Chinese Cinema. Ann Arbor: Center for Chinese Studies, University of Michigan, 2002.
4
-----. Chinese National Cinema. New York: Routledge, 2004.
-----., ed. Cinema and Urban Culture in Shanghai, 1922-1943. Stanford: SUP, 1999.
-----. "From Minority Film to Minority Discourse: Questions of Nationhood and Ethnicity in Chinese Film Studies."
Cinema Journal 36. 3 (Spring 1997): 73-90.
-----. "Chinese Cinema and Transnational Cultural Politics: Reflections on Film Festivals, Film Productions, and
Film Studies." Journal of Modern Literature in Chinese 2. 1 (July 1998): 105-32.
-----. "A Typography of Chinese Film Historiography." Asian Cinema 11. 1 (Spring/Summer 2000): 16-32.
Zhang, Yingjin and Zhiwei Xiao, eds. Encyclopedia of Chinese Films. London: Routledge, 1998.
Zhang, Zhen. An Amorous History of the Silver Screen: Shanghai Cinema, 1896-1937. Chicago: University of
Chicago Press, 2005.
Zhang, Zhen, ed. The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-first Century.
Durham, NC: Duke UP, 2007.
History and Criticism
Early Film
Bao, Weihong. "From Pearl White to White Rose Woo: The Vernacular Translation of the Serial Queen in Chinese
Silent Films, 1927-1931." Camera Obsura [60] 20. 3 (2005).
Bao, Yuheng. "The Mirror of Chinese Society." Chinese Literature 4 (1985): 190-201.
Berry, Chris. "Chinese Left Cinema in the 1930s: Poisonous Weeds or National Treasures?" Jump Cut 34 (1988):
87-94.
-----. "The Sublimative Text: Sex and Revolution in Big Road [The Highway]" East-West Film Journal 2. 2 (June
1988): 66-86.
-----. "A Nation T(w/o)o: Chinese Cinema(s) and Nationahood(s)." East-West Film Journal 7. 1 (January 1993):
24-51.
Cambon, Marie. "The Dream Palaces of Shanghai: American Films in China's Largest Metropolis Prior to 1949."
Asian Cinema 7. 2 (Winter 1995): 34-45.
Cheng, Weikun. "The Challenge of the Actresses: Female Performers and the Cultural Alternatives in Early
Twentieth Century Beijing and Tianjin." Modern China 22. 2 (Apr. 1996): 197-233.
Cho, Pock-rey. "The Emperor of Shanghai Movies of the 1930s: Jin Yan (1910-1983)." Asian Cinema 14. 2
(Fall/Winter 2003): 206-214.
Du, Wenwei. "Xi and Yingxi: The Interaction Between Traditional Theatre and Chinese Cinema." Screeing the
Past (Nov. 2000).
Elley, Derek. "Peach Blossom Dreams: Silent Chinese Cinema Remembered." Griffithiana (Oct. 1997): 127-80.
Fu, Po-shek. "Projecting Ambivalence: Chinese Cinema in Semi-Occupied Shanghai, 1937-1941." In Wen-hsin
Yeh, ed., Wartime Shanghai. London: Routledge, 1998, 86-110.
-----. "Struggle to Entertain: The Political Ambivalence of Shanghai Film Industry under Japanese Occupation,
5
1941-1945." In Cinema of Two Cities: Hong Kong-Shanghai. Hong Kong: Eighteenth Annual Hong Kong
International Film Festival, 1994.
-----. "Selling Fantasies at War: Production and Promotion Practices of the Shanghai
Cinema, 1937-1941."
Sherman Cochran, ed., Inventing Nanjing Road: Commerical Culture in Shanghai, 1900-1945. Ithaca, NY:
East Asia Program, Cornell University, 1999, 187-206.
-----. "Eileen Chang, Woman's Film, and Domestic Shanghai in the 1940s." Asian Cinema 11. 1 (Spring/Summer
2000): 97-113.
-----. Between Shanghai and Hong Kong: The Politics of Chinese Cinemas. Stanford: Stanford UP, 2003.
Hansen, Miriam Bratu. "Fallen Women, Rising Stars, New Horizions: Shanghai Silent Films as Vernacular
Modernism." Film Quarterly 54. 1 (Fall 2000): 10-22.
Harris, Kristine. "Peach Blossom Dreams: Silent Chinese Cinema Remembered." Griffithiana 60/61 (October
1997): 126-179.
Hsieh, Shu-fen. "A Nostaligic Look at Classic Chinese Films." Sinorama 18. 5 (My 1993): 44.
Hu, Jubin. 2000. "Yingxi (Shadow Play): The Initial Chinese Conception about Film." Screening the Past (Nov.
2000).
Lee, Leo Ou-fan. "The Urban Milieu of Shanghai Cinema." In Lee, Shanghai Modern: The Flowering of a New
Urban Culture in China, 1930-1945. Cambridge: Harvard UP, 1999.
-----. "Eileen Chang and Cinema." Journal of Modern Literature in Chinese 2. 2 (Jan. 1999): 37-60.
Li, Cheuk-to. "Eight Films of Sun Yu: A Gentle Discourse on a Genius." Cineyama 11 (1991): 53-63.
-----. "Spring in a Small Town: Mastery and Restraint." Cinemaya 49 (2000): 59-64.
Li, Suyuan. Chinese Silent Film History. Tr. Wang Rui, et al. Beijing: China Film Press, 1997.
Liu, Lu. "Sorrow after the Honeymoon: The Controversy over Domesticity in Late Republican China." Modern
Chinese Literature and Culture 13. 1 (Spring 2001): 1-35.
Ma, Ning. "Symbolic Representation and Symbolic Violence: Chinese Family Melodrama of the Early 1980s."
East-West Film Journal 4. 1 (Dec 1989): 79-112.
-----. "The Textual and Critical Difference of Being Radical: Recontructing Chinese Leftist Films of the 1930s."
Wide Angle 11. 2 (1989): 28.
Meyer, Richard J. Ruan Ling-yu: The Goddess of Shanghai. HK: HK University Press, 2005.
North, C. J. The Chinese Motion Picture Market. Washington, DC: Bureau of Foreign and Domestic Commerce,
US Department of Commerce, 1927.
Pickowicz, Paul. "Melodramatic Representation and the 'May Fourth' Tradition of Chinese Cinema." In Ellen
Widmer and David Wang, eds., From May Fourth to June Fourth: Fiction and Film in Twentiety-Century China.
Cambridge: Harvard UP, 1993, 295-326.
-----. "Sinifying and Popularizing Foreign Culture: From Maxim Gorky's The Lower Depths to Huang Zuolin's
Yedian." Modern Chinese Literature 7. 2 (Fall 1993): 7-31.
-----. "The Theme of Spiritual Pollution in Chinese Films of the 1930s." Modern China 17. 1 (January 1991):3875.
6
-----. "Victory as Defeat: Postwar Visualizations of China's War of Resistance." In Wen-hsin Yeh, ed., Becoming
Chinese: Passages to Modernity and Beyond. Berkeley: University of California Press, 2000, 365-97.
Rayns, Tony. "Missing Links: Chinese Cinema in Shanghai and Hong Kong from the 1930s to the 1940s." In Law
Kar, ed., Early Images of Hong Kong and China: The 19th Hong Kong International Film Festival. HK: Urban
Council, 1995, 105-11.
Shen, Vivian. "From Xin nuxing to Liren xing: Chang Conceptions of the 'New Woman' in Republican Era Chinese
Films." Asian Cinema 11. 1 (Spring/Summer 2000): 114-130.
Shen, Vivian. The Origins of Left-Wing Cinema in China, 1932-37. New York: Routledge, 2005.
Sutcliffe, Brett. "A Spring River Flows East: Progressive Ideology and Gender Representation." Screening the
Past 5 (Dec. 1998).
Xiao, Zhiwei. Film Censorship in China, 1927-1937. Ph. D. diss. San Diego: University of California, San Diego,
1994.
-----. "Movie House Etiquette Reform in Early-Twentieth-Century China." Modern China 32, 4 (2006): 513-536.
Wang, Yiman. "The Phantom Strikes Back: Triangulating Hollywood, Shanghai, and Hong Kong." Quarterly
Review of Film and Video 21 (2004): 317-26.
Way, E. I. Motion Pictures in China. Washington, DC: Bureau of Foreign and Domestic Commerce, 1930.
Zhang, Yingjin. "Engendering Chinese Filmic Discourse of the 1930s: Configurations of Modern Women in
Shanghai in Three Silent Films." Positions 2. 3 (Winter 1994): 603-28.
Zhang, Zhen. An Amorous History of the Silver Screen: Shanghai Cinema, 1896-1937. Chicago: University of
Chicago Press, 2005.
-----. "Bodies in the Air: Magic of Science and the Fate of the Early 'Martial Arts' Film in China." Post Script 20.
2/3 (Winter/Spring 2001): 43-60.
-----. "An Amorous History of the Silver Screen: The Actress as Vernacular Embodiment in Early Chinese Film."
Camera Obscura [48] 16. 3 (2001): 229-63.
Zhong, Dafeng, Zhen Zhang, and Yingjin Zhang. "From Wenmingxi (Civilized Play) to Yingxi (Shadowplay): The
Foundation of Shanghai Film Industry in the 1920s." Asian Cinema 9. 1 (1997): 46-64.
1950s-1970s
Berry, Chris. "Stereotypes and Ambiguities: An Examination of the Feature Films of the Chinese Cultural
Revolution." Journal of Asian Culture 6 (1982): 37-72.
Braester, Yomi. "The Purloined Lantern: Maoist Semiotics and Public Discourse in Early PRC Film and Drama." In
Braester, Witness Against History: Literature, Film, and Public Discourse in Twentieth-Century China.
Stanford: Stanford UP, 2003, 106-27.
-----. "A Big Dying Vat: The Vilifying of Shanghai during the Good Eighth Company Campaign." Modern China 31.
4 (2005): 411-47.
Chen, Tina Mai. "Propagating the Propaganda Film: The Meaning of Film in Chinese Communist Party Writings,
1949-1965." Modern Chinese Literature and Culture 15. 2 (Fall 2003): 154-93.
7
-----. "Internationalism and Cultural Experience: Soviet Films and Popular Chinese Understandings of the Future
in the 1950s." Cultural Critique 58 (Fall 2004): 82-114.
-----. "Socialism, Aestheticized Bodies, and International Circuits of Gender: Soviet Female Film Stars in the
People's Republic of China, 1949-1969." Journal of the Canadian Historical Association 18, 2 (2007): 53-80.
Clark, Paul. "The Film Industry in the 1970s." In Bonnie McDougall, ed. Popular Chinese Literature and
Performing Arts in the PRC, 1949-1979. Berkeley: UCP, 1984, 177-196.
Delmar, R. and M. Nash. "Breaking with Old Ideas: Recent Chinese Films." Screen 17. 4 (1976): 67-84.
Karl, Rebecca E. "The Burdens of History: Lin Zexu (1959) and the Opium War (1997)." In Xudong Zhang, ed.,
Whither China? Intellectual Politics in Contemporary China. Durham: Duke UP, 2001.
Lewis, Greg. "The History, Myth, and Memory of Maoist Chinese Cinema, 1949-1976." Asian Cinema 16. 1
(Spring/Summer 2005): 162-83.
-----. "New China's Forgotten Cinema, 1949-1966: More Than Just Politics." Education About Asia (Fall 2004):
57-64.
Liu, Alan P. L. The Film Industry in Communist China. Cambridge: Center for International Studies, MIT, 1965.
Ma, Ning. "Satisfied or Not: Desire and Discourse in the Chinese Comedy of the 1960s." East-West Film Journal
2. 1 (Dec 1987): 32-49.
Marchetti, Gina. "Two Stage Sisters: The Blossoming of a Revolutionary Aesthetic." Jump Cut 34 (1988): 95-106.
Pickowicz, Paul G. "Cinema and Revolotion in China: Some Interpretive Themes." American Behavioral Scientist
17 (Jan-Feb 1974): 328-59.
-----. "Zheng Junli, Complicity and the Cultural History of Socialist China, 1949–1976." The China Quarterly 188
(Dec. 2006): 1048-1069.
-----. "Acting Like Revolutionaries: Shi Hui, the Wenhua Studio, and Private-Sector Filmmaking, 1949-1952." In
Jeremy Brown and Paul Pickowicz, eds., Dilemmas of Victory: The Early Years of the People's Republic of
China. Cambridge: Harvard UP, 2008.
Tang, Xiaobing. "Rural Women and Social Change in New China Cinema: From Li Shuangshuang to Ermo."
positions 11. 3 (Winter 2003): 647-74.
Toroptsev, Sergei. "The Space of the Subjective: Pre-Fifth Generation Chinese Cinema." Cinemaya 16 (1992):
14-17.
Weakland, John. "Chinese Film Images of Invasion and Resistance." China Quarterly 47 (July-September, 1971):
439-70.
Xiao, Zhiwei. "The Expulsion of American Films from China, 1949-1950." Twentieth-Century China 30. 1 (Nov.
2004).
Yau, Esther C.M. "Compromised Liberation: The Politics of Class in Chinese Cinema of the Early 1950s." In David
James and Rick Berg, eds., The Hidden Foundation: Cinema and the Question of Class. Minneapolis:
University of Minnesota Press, 1996, 138-71.
Zhong, Xueping. "'Long Live Youth' and the Ironies of Youth and Gender in Chinese Films of the 1950s and
1960s." Modern Chinese Literature and Culture 11. 2 (Fall 1999): 150-85.
8
Post-Mao
Berry, Chris, ed. Perspectives on Chinese Cinema. Ithaca: Cornell East Asia Papers,
1985. Rpt. London: British Film Institute, 1991.
-----. ed. Chinese Films in Focus: 25 New Takes. London: BFI Publishing, 2003.
-----. Postsocialist Cinema in the Post-Mao China: The Cultural Revolution After the Cultural Revolution. NY:
Routledge Curzon, 2004.Berry, Chris. "Chinese 'Women's Cinema': Introduction." Camera Obscura 18 (Sept.
1988): 4-7.
-----. "China's New 'Women's Cinema.'" Camera Obscura 18 (Sept. 1988):8-19.
----- "Chinese Urban Cinema: Hyper-Realism Versus Absurdism." East-West Film Journal 3, 1 (1988): 76-88.
-----. "Market Forces: China's 'Fifth Generation' Faces the Bottom Line." First Published in Continuum 2. 1
(1988/89): 106-27.
-----. "Seeking Truth from Fiction: Feature Films as Historiography in Deng's China." Film History 7 (1995): 8799.
-----. "If China Can Say No, Can China Make Movies? Or, do Movies Make China? Rethinking National Cinema
and National Agency." Boundary 2. Special Issue ed. Rey Chow. 25, 2 (Fall 1998): 129-50.
-----. “Facing Reality: Chinese Documentary, Chinese Postsocialism” in Wu Hung with Wang Huangsheng & Feng
Boyi, The First Guangzhou Triennial Reinterpretation: A Decade of Experimental Chinese Art (1990 – 2000).
Guangzhou Museum of Art, 2002, 121 – 131.
Braester, Yomi. "From Real Time to Virtual Reality: Chinese Cinema in the Internet Age." Journal of
Contemporary China 13. 38 (Feb. 2004): 89-104.
-----. "Chinese Cinema in the Age of Advertisement: The Filmmaker as a Cultural Broker." The China Quarterly
183 (Sept. 2005): 549-564.
Chen, Ming-May Jessie and Mazharul Haque. "The Chinese Fifth Generation Directors and Their Films." Asian
Cinema 16. 1 (Spring/Summer 2005): 306-24.
Chen, Xiaoming. "The Mysterious Other: Postpolitics in Chinese Film." Trs. Liu Kang and Anbing Shi. In Xudong
Zhang and Arif Dirlik, eds., Postmodernism and China. Durham: Duke UP, 2000, 222-38.
Chong, W.L. and A. S. Keyser. "Director Zhang Zeming on His Film Swansong." China Information 4. 4 (1990):
37-43.
Clark, Paul. Reinventing China: A Generation and Its Films. HK: The Chinese University Press, 2005.
-----. "Filmmaking in China: From the Cultural Revolution to 1981." The China Quarterly (June 1983): 304-22.
-----"Ethnic Minorities in Chinese Films: Cinema and the Exotic." East-West Film Journal 1. 2 (June 1987): 15-31.
----- "Reinventing China: The Fifth Generation Filmmakers." Modern Chinese Literature 5.
1 (Spring 1989): 121-36.
Cohen, Joan Leobld. "The Fifth Generation." Attention (July/Aug. 1988): 88-93.
Cui, Shuqin. "Working from the Margins: Urban Cinema and Independent Directors in Contemporary China."
Post Script 20. 2/3 (Winter/Spring 2001): 77-92.
9
----- "Negotiating In-Between: On New-Generation Filmmaking and Jia Zhangke's Films." Modern Chinese
Literature and Culture 18, 2 (Fall 2006): 98-130.
Dai, Jinhua. "Rewriting Chinese Women: Gender Production and Cultural Space in the Eighties and Nineties." In
Mayfair Mei Hui Yang, ed. Spaces of Their Own: Women's Public Sphere in Transnational China. Minneapolis:
University of Minnesota Press, 1999, 191-206.
-----. "Invisible Women: Contemporary Chinese and Women's Film." Positions 3. 1 (1995): 254-80.
Donald, Stephanie. "Symptoms of Alienation: The Female Body in Recent Chinese Film." Continuum (April
1998): 9-103.
Eder, Klaus adn Deac Rossell, eds. New Chinese Cinema. London: National Film Theatre, 1993.
Gladney, Dru. "Tian Zhuangzhuang, the Fifth Generation, and Minorities Films in China." Public Culture 8 (1995):
161-75.
Guo, Wu. "Subversion of the Feminist Myth in Chinese Film and Its Dilemma." Asian Cinema 16. 1
(Spring/Summer 2005): 325-33.
Hao, X. & Chen, Y. "Film and Social Change: The Chinese cinema in the Reform Era." Journal of Popular Film
and Television 28 (2000): 36-45.
-----. "Film and Social Change: The Chinese Cinema in the Reform Era." Journal of Popular Film and Television
28 (Spring 2000): 36-45. Hitchcock, Peter. "The Aesthetics of Alienation, or China's 'Fifth Generation.'"
Cultural Studies (London) 6 (1992): 116-41.
Huot, Claire. "Colorful Folk of the Landscape: Fifth Generation Filmmakers and Roots Searchers." In Huot,
China's New Cultural Scene: A Handbook of Changes. Durham: Duke University Press, 2000, 91-125..
Kong, Shuyu. “Big Shot from Beijing: Feng Xiaogang’s He Sui Pian and Contemporary Chinese Commercial Film.”
Asian Cinema 14. 1 (Spring/Summer 2003): 175-87.
Kuoshu, Harry H. "Beyond the Yellow Earth: The Postsocialist City as a Cinematic Space of Anxiety." American
Journal of Chinese Studies 4. 1 (April 1997): 50-72.
Lang, Miriam. "Swan Songs: Traditional Musicians in Contemporary China - Observations from a Film." East
Asian History 5 (June 1993).
Larson, Wendy. "He Yi’s The Postman: The Workspace of a New Age Maoist." In Bryna Goodman and Wendy
Larson, eds., Gender in Motion: Divisions of Labor and Cultural Change in Late Imperial and Modern China.
Lanham: Rowman and Littlefield, 2005.
Lau, Jenny Kwok Wah. “Globalization and Youthful Subculture: The Chinese Sixth-Generation Films at the Dawn
of the New Century,” in Lau, Jenny Kwok Wah, ed. Multiple Modernities: Cinemas and Popular Media in
Transcultural East Asia. Philadelphia: Temple University Press, 2003, 13-27.
Li, H.C. "Color, Character, and Culture: On Yellow Earth, Black Canon Incident, and Red Sorghum." Modern
Chinese Literature 5. 1 (Spring 1989): 91-119.
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Xu, Ying and Xu Zhongquan. "A 'New' Phenomenon of Chinese Cinema: Happy-New-Year Comic Movie." Asian
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Taiwan
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-----. Wong Kar-Wai: Auteur of Time. Berkley and Los Angeles: University of California Press, 2005.
-----. "Hong Kong Cinema: Discovery and Prediscovery." In John Hill and Pamela Gibson, eds. World Cinema:
Critical Approaches. NY: Oxford UP, 2000, 166-70.
----. Director in Action: Johnnie To and the Hong Kong Action Film. HK: Hong Kong University Press, 2007.
Tobias, Mel C. Flashbacks: Hong Kong Cinema after Bruce Lee. Hong Kong: Gulliver Books, 1979.
Tsai, Eva. "Kaneshiro Takeshi: Transnational Stardom and the Media and Culture Industries in Asia
Global/Postcolonial Age." Modern Chinese Literature and Culture 17. 1, (Spring 2005): 100-132.
Wang, Shujen. Framing Piracy: Globalization and Film Distribution in Greater China. Lanham, MD: Rowman and
Littlefield, 2003.
Wang, Yiman. "The ‘Transnational’ as Methodology: Transnationalizing Chinese Film Studies through the
Example of The Love Parade and its Chinese Remakes." Journal of Chinese Cinemas 2, 1 (May 2008): 9-22.
Williams, Tony. "Kwan Tak-Hing and the New Generation." Asian Cinema 10. 1 (1998): 71-77.
-----. "Hong Kong Cinema, the Boat People, and To Liv(e)." Asian Cinema 11. 1 (Spring/Summer 2000): 131-43.
-----. "Under 'Western Eyes': The Personal Odyssey of Huang Fei-Hong in Once Upon a Time in China." Cinema
Journal 40. 1 (2000): 3-24.
-----. "Michelle Yeoh: Under Eastern Eyes." Asian Cinema 12, 2 (Fall/Winter 2001): 119-31.
-----. "Transnational Stardom: The Case of Maggie Cheung Man-yuk." Asian Cinema 14. 2 (Fall/Winter 2003):
180-96.
Wong, Cindy Hing-Yuk. "Cities, Cultures and Cassettes: Hong Kong Cinema and Transnational Audiences." Post
Script: Essays in Film and the Humanities. Special issue on HK Cinema. 19. 1 (Fall 1999): 87-106.
Wood, Miles. Cine East: Hong Kong Cinema through the Looking Glass. Guildford: FAB, 1998.
Yang, Jeff. Once Upon a Time in China: A Guide to Hong Kong, Taiwanese, and Mainland Chinese Cinema. NY:
Simon and Schuster, 2003.
Yau, Ching. Filming Margins: Tang Shu Shuen, a Forgotten Woman Film Director. HK: HK University Press, 2004.
Yau, Esther C.M., ed. At Full Speed: Hong Kong Cinema in a Borderless World. Minneapolis: University of
Minnesota, 2001.
21
Yau, Ka-fai. "3rdness: Filming, Changing, Thinking Hong Kong." Positions: East Asia Cultures Critique 9. 3
(Winter 2001): 535-558.
Yue, Audrey. "Preposterous Hong Kong Horror: Rouge's (be)hindsight and a (sodomitical) Chinese Ghost Story."
In Ken Gelber, ed., The Horror Reader. NY: Routledge, 2000, 364-73.
Zhang, Zhen. "The 'Shanghai Factor' in Hong Kong Cinema: A Tale of Two Cities in Historical Perspective." Asian
Cinema 10. 1 (1998): 146-59.
Select Foreign Language Books and Journal Articles
General
Bassan, Raphael. "La longue marche du cinema chinois." La revue du cinema 380 (Feb 1983).
Bao Minglian. Dongfang Haolaiwu: Zhongguo dianying shiye jueqi yu fazhan (Hollywood of the East: the rise
and development of the Chinese film industry). Shanghai: Shanghai renmin, 1991.
Bergeron, Regis. Le cinema chinois. I: 1905-1949. Laussane: Alfred Eibel, 1977.
-----. Le cinema chinois 1949-1983. 3 vols. Paris: L'Harmattan, 1983.
-----. Le cinema chinois: 1984-1997. Aix-en-Provence: Institut de l'image, 1997.
Chen Huangmei, ed. Dangdai Zhongguo dianying (Contemporary Chinese film). Beijing: Zhongguo shehui kexue,
1989.
Chen Mo. Bai nian dianying shanhui (Flashbacks to a hundred years of Chinese film). Beijng: Zhongguo jingji,
2000.
Cheng Jihua. Zhongguo dianying fazhan shi (The history of the development of Chinese film) 2 vols. Beijing:
Zhongguo dianying, 1980.
Cosandey, Roland. "Pour servir a l'histoire du cinema chinois (1930-82)" Cahiers de la cinematheque. 37
(Summer, 1983):11-27.
Dai Jinhua. Dianying lilun yu piping shouce (Film theory and critical handbook). Kexue jishu wenxian, 1993.
-----. Jingcheng tuwei: nuxing, dianying, wenxue (Breaking out of the mirrored city: woman, film, literature).
Beijing: Zuojia, 1995.
Dangdai Zhongguo dianying shi (History of contemporary Chinese film). 2 vols. Beijing: Zhongguo shehui kexue,
1989.
Du Yunzhi. Zhonghua minguo dianying shi (A history of film in the Chinese Republic). 2 vols. Taibei: Xingzheng
yuan wenhua jianshe weiyuanhui, 1988.
Gongsun, Lu. Zhongguo dianying shi (History of Chinese film). HK: Nantian, 1977.
Guan Wenqing. Zhongguo yintan waishi (An informal history of the Chinese film world). Hongkong:
Guangjiaojing chubanshe, 1976.
Hu Chang. Xin Zhongguo dianying de yaolan (The cradle of the new Chinese cinema). Changchun: Jilin wenshi,
1986. [history of the Changchun studio]
22
Kramer, Stefan. Geschichte des Chinesischen Films (History of Chinese film). Stuttgart: J. B. Metzler, 1997.
Lu Xun. Lu Xun yu dianying (Lu Xun and film). Beijing: Zhongguo dianying, 1981. [a collection of Lu Xun's
writings on film]
Ombres Electriques: Panorama du cinema chinois 1925-1982. Paris: Centre du Documentation du Cinema
Chinois, 1982.
Quiquemelle, Marie-Claire and Jean-Loup Passek. Le cinema chinois. Paris: Centre Georges Pompidou, 1985.
Shanghai dianying sishi nian (Forty years of film in Shanghai). Shanghai: Xuelin, 1991.
Tian Zhengqing. Beijing dianying yeshi ji, 1949-1990 (The mark of the history of the Beijing film industry).
Beijing: Zhongguo dianying, 1999.
Voyage autour du cinema chinois: nuits de Chine : une selection de 26 films chinois des annees 30 aux annees
80 (A voyage around Chinese cinema. China nights: a selection of 26 Chinese films from the 1930s to the
1980s). L'Association Culturelle des Cineastes Associes (The Cultural Association of Associated Filmmakers).
Paris: s.n., 1983.
Yi Sha. "Daoyan" (Introduction). In Zhongguo xin wenxue daxi xubian. 10 vols. HK: Xianggang wenxue, 1966,
vol. 10.
Yin Hong. Xin Zhongguo dianying shi (History of new China's cinema). Changsha: Hunan meishu, 2002.
Zhang Juxiang and Cheng Jihua, eds., Zhongguo dianying da cidian (China cinema encyclopedia). Shanghai:
Shanghai cishu, 1995.
Zheng Shusen (William Tay). Wenhua piping yu Huayu dianying (Cultural criticism and Chinese cinema). Taibei:
Maitian, 1996.
Zhong, Dafeng, et al. Zhongguo dianying shi (History of Chinese film). Beijing: Zhongguo guangbo dianshi,
1995.
Early Film
Chen Bo, ed. Zhongguo zuoyi dianying yundong (The Chinese leftist film movement). Beijing: Zhongguo
dianying, 1993.
Cheng, Jihua, et al. Zhongguo dianying fazhan shi (The history of the development of Chinese film). Beijng:
Zhongguo dianying, 1980.
Dai Xiaolan, ed. Zhongguo wusheng dianying (Chinese silent film). Beijing: Zhongguo dianying, 1996.
Kangri zhanzheng shiqi de Chongqing dianying (Film in Chongqing during the War of Resistance Against the
Japanese). Chongqing: Chongqing chubanshe, 1991.
Li Daoxin. Zhongguo dianying shi, 1937-1945 (History of Chinese film, 1937-1945). Beijing: Shoudu shifan
daxue, 2000.
Li Suyuan and Hu Jubin. Zhongguo wusheng dianying shi (Chinese silent film history). Beijing: Zhongguo
dianying, 1996.
Zhongguo dianying yishu zhongxin, ed. Zhongguo zuoyi dianying yundong (The Chinese leftist cinema
movement). Beijing: Zhongguo dianying, 1993.
23
Zhongguo zuoyi xijujia lianmeng shiliao ji (Historical materials of the Chinese left-wing dramatists association).
Beijing: Zhongguo xiju, 1991.
1950s-1970s
Meng Liye. Xin Zhongguo dianying yishu shigao, 1949-1959 (Draft history of new China's film art, 1949-1959).
Beijing: Zhongguo dianying, 2002.
Meng Liye, Zhang Sitao, and Li Jinsheng, eds. Zaijian geming lishi de yishu: geming lishi ticai dianying yanjiu
lunwen ji (Goodbye to the art of revolutionary history: collection of essays on films wit revolutionary history
themes). Beijing: Beijing dianying, 1993.
Yu Lan. "Ertong dianying sanshiwu nian xunli" (An overiew of 35 years of children's film). In Zhonghua renmin
gonghe guo dianying shiye sanshiwu nian, 1949-1984 (Thirty-five years of film industry in the People's
Republic of China). Beijing: Zhongguo dianying, 1985, 224-235.
ZDX, ed. Zhonghua renmin gonghe guo dianying shiye sanshiwu nian, 1949-1984 (Thirty-five years of film
development in the People's Republic of China). Beijing: Zhongguo dianying, 1985.
Post-Mao
Chen Huangmei, ed. Dangdai Zhongguo dingying (Contemporary Chinese film). 2 vols. Beijing: Zhongguo
shehui kexue, 1989.
Chong, Woei Lien. "Le mysticisme de la nature dans le cinéma chinois après la Révolution culturelle" (Nature
mysticism in post-Cultural Revolution Chinese cinema). Critique internationale 20 (July 2003): 48-58.
Liu Shusheng. Zhongguo diwu dai dianying (China's fifth generation film). Beijing: Zhongguo guangbo dianshi,
1992.
Reynaud, Berenice. Nouvelles Chines, Nouveaux Cinémas. Paris: Cahiers du cinéma, 1999.
Taiwan
Chen Feibao, ed. Taiwan dianying shihua (A history of Taiwan cinema). Beijing: Zhongguo dianying, 1988.
Chen Ru-shou. Taiwan xiandai dianying de lishi wenhua jingyan (Historical and cutlural experiences in New
Taiwan Cinema). Taipei: Wanxiang, 1993.
Chen Ruxiu and Liao Jinfeng, eds., Xunzhao dianying zhong de Taibei (Focus on Taipei through cinema). Taipei:
Wanxiang, 1995.
Guojia dianying ziliaoguan koushu dianyingshi xiaozu (The oral film history group at the Taipei National Film
Archive). Taiyu pian shidai (The era of Taiwanese-language cinema). Taipei: National Film Archive, 1994.
Huang Ren. Beiqing Taiyu pian (The tragedy of Taiwanese-language film). Taibei: Wanxiang tushu, 1994.
Jiao Xiongping. Gaibian dianying de wunian: Guolian dianying yanjiu (The fives that changed history: a study on
films from the Grand Union Studio). Taipei: Wanxiang, 1993.
Liao Jinfeng. Xiaoshi de yingxiang: Taiyu pian de dianying zaxian yu wenhua rentong (The disappeared images:
cinematic representation and cultural identification in Taiwanese-language film). Taipei: Yuanliu, 2001.
24
Li Youxin. Gangtai liu da daoyan (Six great directors in Hong Kong and Taiwan). Taiwan: Zili wanbao, 1986.
Lu Feiyi. Taiwan dianying: zhengzhi, jingji, meixue (1994-1994) (Taiwanese cinema: politics, economics and
aesthetics). Taipei: Yuanliu 1998.
Lü Sushang. Taiwan dianying xiju shi (History of Taiwan cinema and drama). Taipei: Dongfang, 1961.
Ye Longyan. Guangfu chuqi Taiwan dianying shi (A history of Taiwan cinema in the early postwar period). Taipei:
Guojia dianying ziliaoguan, 1995.
----. Rizhi shiqi Taiwan dianyingshi (The history of Taiwanese movies during the Japanese colonization). Taipei:
Yushanshe, 1998.
25
Ph.D Comprehensive Exam
Chinese Cinemas
Filmography (version 1)
(Compiled by Zhang Zhen, Jan. 2009)
China:
Laborer’s Love (Zheng Zhengqiu & Zhang Shichuang, 1922)
Pearl Necklace (Li Zeyuan, 1926)
Two Actors (Shi Dongshan, 1931)
Goddess (Wu Yonggang, 1933)
Sister Flowers (Zheng Zhengqiu, 1933)
Spring Silkworm (Cheng Bugao, 1933)
Daybreak (Sun Yu, 1933)
Big Road (Sun Yu, 1934)
Queen of Sports (Sun Yu, 1934)
Plunder of Peach and Plum (Yin Yunwei, 1934)
New Woman (Cai Chusheng, 1935)
Song of China (Fei Mu, 1935)
Street Angel (Yuan Muzhi, 1937)
Song at Midnight (Maxu Weibang, 1937)
Spring River Flows East (Cui Chusheng & Zheng Junli, 1947)
Long Live the Mistress (Sang Hu, 1947)
Spring in a Small Town (Fei Mu, 1948)
Crows and Sparrows (Zheng Junli, 1949)
Miriad of Lights (Shen Fu, 1949)
The Guerilla on the Railroad (Su Li & Wu Zhaodi, 1955)
New Year’s Sacrifice (Sang Hu, 1956)
Five Golden Flowers (Wang Jiayi, 1957)
Family (Chen Xihe and Ye Ming, 1957)
Song of Youth (Cui Wei & Chen Huaikai, 1959)
Woman Basket Ball Player No. 5 (Xie Jin, 1959)
The Navel Battle of 1894/ (Lin Nong, 1962)
Ah Shi Ma (Liu Qiong, 1964)
Two Stage Sisters (Xie Jin, 1964)
White Haired Girl (Sang Hu, 1972)
26
The Herdsman (Xie Jin, 1982)
Yellow Earth (Chen Kaige, 1984)
Big Parade (Chen Kaige, 1985)
Sacrificed Youth (Zhang Nuanxin, 1985)
Army Nurse (Dir. Hu Mei, 1986)
Hibiscus Town (Xie Jin, 1986)
Horse Thief (Tian Zhuangzhuang, 1987)
Dislocation (Huang Jianxin, 1987)
Woman, Demon, Human (Huang Shuqin,1988)
Women's Story (Peng Xiaolian, 1989)
Life on A String (Chen Kaige, 1990)
Ju Dou (Zhang, Yimou, 1990)
Story of Qiu Ju (Zhang, Yimou, 1992)
To Live (Zhang, Yimou, 1993)
The Blue Kite (Tian Zhuangzhuan, 1993?)
Farewell My Concubine (Chen Kaige, 1993)
Beijing Bastards (Zhang Yuan, 1993)
The Days (Wang Shaoshuai, 1993)
Those Left Behind (Hu Xueyang, 1993)
Ermo (Zhou Xiaowen, 1994)
East Palace, West Palace (Zhang Yuan, 1995)
On the Beat (Ning Ying, 1995)
How Steel Is Made (Lu Xuechang, 1996)
Xiao Wu (Jia Zhangke, 1997)
Frozen (Wang Xiaoshuai, 1997)
A Beautiful New World (Shi Runjiu, 1998)
Mr. Zhao (Lu Yue, 1998)
Suzhou River (Lou Ye, 1999)
I love Beijing (Ning Ying, 1999)
Seventeen Years (Zhang Yuan, 1999)
Shower (Zhang Yang, 1999)
Shanghai Panic (Chen Yusu, 2000)
Unknown Pleasures (Jia Zhangke, 2000)
Big Shot’s Funeral (Feng Xiaogang, 2001)
Hero (Zhang Yimou, 2002)
Destination Shanghai(Chen Yusu, 2003)
Blind Well (Li Yang, 2003)
27
The World (Jia Zhangke, 2004)
Crazy Stone (Ning Hao, 2006)
Silent Mani Stone (Wanma Caidan, 2006)
Summer Palace (Lou Ye, 2006)
Still Life (Jia Zhangke, 2007)
Assembly (Feng Xiaogang, 2007)
Hong Kong:
Mambo Girl (Yi Wen, 1957)
The Wild, Wild Rose (Wong Tin-lam, 1960)
Love Eterne (Lee Han-hisang and King Hu, 1963)
Temple of the Red Lotus (Hsu Cheng-hung, 1965)
Come Drink with Me (King Hu, 1966)
The One-Armed Swordsman (Chang Che, 1967)
Golden Swallow (Chang Che, 1968)
A Touch of Zen (King Hu, 1970)
The Big Boss (Bruce Lee, 1971)
The New One-Armed Swordsman (Chang Che, 1971)
Intimate Confessions of a Chinese Courtesan (Chu Yuan, 1972)
The Way of the Dragon (Bruce Lee, 1972)
Fist of Fury (Loh Wei, 1972)
Challenge of the Masters (Lau Kar-leung, 1976)
Drunken Master (Yuen Woo-ping, 1978)
Butterfly Murders (Tsui Hark, 1979)
The Eight Diagram Pole Fighter (Lau Kar-leung, 1983)
Boat People (Ann Hui, 1983)
Peiking Opera Blues (Tsui Hark, 1986)
A Better Tomorrow (John Woo, 1986)
City on Fire (Ringo Lam,1987)
Rouge (Stanley Kwan, 1987)
The Killer (John Woo,1989)
Once Upon a Time in China III (Tsui Hark, 1991)
Center Stage (Stanley Kwan, 1991)
Song of the Exile (Ann Hui, 1991)
Swordsman II (Tsui Hark, 1992)
28
Wing Chun (Yuen Woo-ping, 1993)
The Heroic Trio (Johnny To and Ching Siu-tung, 1993)
Legend of the Drunken Master (Lau Kar-leung, 1994)
Chungking Express (Wong Kar-wai, 1994)
Ashes of Time (Wong Kar-wai, 1994)
Siao Yu (Sylvia Chan, 1995)
Happy Together (Wong Kar-wai, 1997)
Comrades, Almost a Love Story (Peter Chan, 1996)
Once Upon a Time in China and America (Tsui Hark, 1997)
Made in Hong Kong (Fruit Chan, 1997)
The Longest Summer (Fruit Chan, 1998)
Little Cheung (Fruit Chan, 1999)
The Mission (Jonnie To, 1999)
Durian Durian (Fruit Chan, 2000)
Hollywood Hong Kong (Fruit Chan, 2001)
Shaolin Soccer (Stephen Chiau, 2001)
Lets’s Love Hong Kong (Yau Ching, 2002)
Infernal; Affairs (Wai-keung Lau and Siu Fai Mak, 2002)
Kung Fu Hustle (Stephen Chiau, 2004)
2046 (Wong Kar-wai, 2004)
Twenty, Thirty, Forty (Sylvia Chan, 2004)
Jet Li’s Fearless (Ronnie Yu, 2006)
Taiwan:
Beautiful Ducklings (Lee Xing, 1964)
Oyster Girl (Li Jia & Lee Hsing, 1964)
Dragon [Gate] Inn (King Hu, 1968)
Boys from Fengkuei (Hou Hsiao-hsien, 1983)
Taipei Story (Edward Yang, 1985)
A Time to Live and a Time to Die (Hou Hsiao-hsien, 1985)
The Terrorizers (Edward Yang, 1986)
Run Away (Wang Tong, 1986)
Dust in the Wind (Hou Hsiao-hsien, 1987)
City of Sadness (Hou Hsiao-hsien, 1989)
Bright Summer Day (Edward Yang, 1991)
29
The Puppet Master (Hou Hsiao-hsien, 1993)
Wedding Banquet (Ang Lee, 1993)
The Magic Sword (Ting San-si, 1993)
Eat, Drink, Man, Woman (Ang Lee, 1994)
Vive l’amour (Tsai Ming-liang, 1994)
Goodbye South, Goodbye (Hou Hsiao-hsien, 1996)
The Hole (Tsai Ming-liang, 1998)
The Personals (Chen Guo-fu, 1999)
Yi Yi (Edward Yang, 2000)
Crouching Tiger, Hidden Dragons (Ang Lee, 2000)
What Time Is It There? (Tsai Ming-liang, 2001)
Millennium Mambo ((Hou Hsiao-hsien, 2001)
Goodbye, Dragon Inn (Tsai Ming-liang, 2003)
Double Vision (Chen Guo-fu, 2004)
Cafe Lumiere ((Hou Hsiao-hsien, 2004)
Three Times (Hou Hsiao-hsien, 2005)
Tonight I Don’t Want to Sleep Alone (Tsai Ming-liang, 2006)
PRC Documentary (available at the Bobst Library):
Out of Phoenix Bridge (Li Hong, 1997)
Crazy English (Zhang Yuan, 1999)
Jiang Hu (Wu Wenguang, 1999)
Along the Railway (Du Haibing, 2000)
The Box (Ying Weiwei, 2001)
Railroad of Hope (Ning Ying, 2001)
Night Girl (Ma Yingli, 2001)
White Tower (Su Qing and Mi Na, 2002)
Old Yang Seeking Wife (Jiang Ning, 2003)
Mei Mei (Gao Tian, 2005)
Dream Walking (Huang Wenhai, 2005)
Dr. Zhang (Huang Ruxiang, 2006)
30