Spectrum of History and Cultural Topography: The Transnational Relation between Hollywood and Chinese-Language Cinema

Spectrum of History and Cultural Topography: The Transnational Relation between Hollywood and Chinese-Language Cinema (Co-Editor; 历史光谱与文化地形:跨国语境中的好莱坞与华语电影). Guangxi: Guangxi Normal University Press, 2012.
ISBN: 978-7-5495-0853-2
Price: 49 yuan

Book Cover of "Spectrum of History and Cultural Topography: The Transnational Relation between Hollywood and Chinese-Language Cinema"

This is a collection of essays based on the “Retrospective and Prospective: The Cinematic Boulevard between Hollywood and China” conference held in Shanghai in June, 2006. Despite its nature of being a book featuring many authors and individual articles, it is carefully edited to reflect the tumultuous and sometimes volatile history of the relation between Hollywood and Chinese cinema: from the birth of Chinese cinema in the 1900s to the “golden ages” of Chinese cinema in the 1930s and the late 1940s, from the anti-Hollywood movement in the 1950s and subsequent elimination of Hollywood films during the Cultural Revolution to Hollywood’s re-entry into the Chinese film market in the mid-1990s, and from China’s entry into WTO to recent integration and discord between the two. The book, in other words, can be read as a history of the cinematic relationship between the United States and China, the two dominant film markets in the world today (recent box-office figure indicates that China may have surpassed India and the UK in 2011 to become the third-largest film market in the world).

Besides its value in delineating the history of the cinematic exchanges/breakup between the United States and China, the book also contains a section (its first chapter) that attempts to theorize or re-define the complex relationship in the changing context of globalization, arguing that we need to understand and approach this relationship with the introduction of such conceptual frameworks as “flow of images,” “global consumption of filmed materials,” and globalized/transnational nature of film production and distribution. It reflects the recent scholarship in China on this important relationship.

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