New Media and Cultural Transformation

August 17, 2013

New Media and Cultural Transformation (Co-Editor; 新媒体与文化转型).  Shanghai: Shanghai Joint Press, July 2013.
Total Pages: 589 pages;
Price: 89 yuan;
Amazon Number (ASIN): B00EDYUK5Y;
Available at Amazon China: http://www.amazon.cn/

Book cover of "New Media and Cultural Transformation" published by the Shanghai Joint Press.

Book cover of “New Media and Cultural Transformation” published by the Shanghai Joint Press.

This is a collection of more than 20 articles translated from the leading journals in the field based mainly in the United States and the Great Britain. The aim to publish this anthology in China is trying to clarify some key terms, to tentatively define the field, and to delineate theoretical and methodological approaches to the emerging field of new media, for examples, the confusing and overlapping terms like the Internet culture, new media studies, digital media studies, networked culture, information society, contemporary media studies, etc.

Divided into five chapters or themes, namely, “Theory and Method,” “The Rise of the Networked Society and Changes in Regulatory Systems,” “Civil Society, Business Empire, and the Notion of Power,” “Film, TV, Game, and the Audience in the Digital Age,” and “Social Contract, Competition, and Transnational Mechanism,” the book also includes a long introduction the editors wrote, in which we argued that, broadly speaking, two major scholarly approaches have emerged in the studies of new media, 1) Social sciences approach, added by such disciplines as communication, sociology, anthropology, political sciences, statistics, even international relations; and 2) Humanities and the arts approach, added by literary studies, art history, philosophy, visual culture, cinema studies, aesthetics, even linguistics. In social sciences direction, the notion of Power, broadly defined, dominates the studies of new media, whereas in humanities and the arts, the notion of Interactivity, broadly defined, dominates the studies of new media. The introduction concludes that the notions of Interface/Screen have emerged as the key terms that potentially could build the link between the aforementioned two approaches.


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

January 3, 2012

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.


The Matrix of Cinema: Cinematic Space and Cultural Globalism

June 26, 2010

The Matrix of Cinema: Cinematic Space and Cultural Globalism (电影经纬:影像空间与文化全球主义).  Shanghai: Fudan University Press, 2010.
ISBN:
9787309072808
Price: 38 yuan

Book Cover of "The Matrix of Cinema: Cinematic Space and Cultural Globalism"

This book collects all the scholarly articles published by the author since 2005. Grouped thematically, the book is divided into four parts. The first part, “Cinematic Space, National Cinema, and Cultural Globalism”, sets the theoretical framework of the whole book, which is to look at and reflect upon national cinema (Chinese cinema in this case) in an increasingly globalized and culturally interconnected context. What are the new issues and possibilities facing “national cinema” in this context? How should we approach “national cinema” in an interconnected matrix? The second part, titled “Mapping the cinematic relationship between China and the United States”, can be viewed as an exercise in light of the first part’s theoretical excursion. The third part, “New Media and Film Theory”, reflects a new direction the author has taken in recent years, a direction with great promises and rich potentials. The last part, “A Short History of the Birmingham School”, traces the rise and fall of a significant school in cultural studies, and could be viewed as the first in Chinese language that gives this school a systematic and critical introduction.


Structural Transformation of the Media Industry in Asia

November 19, 2009

Structural Transformation of the Media Industry in Asia (Co-Editor; 亚洲传媒发展的结构转型).  Shanghai: Shanghai Joint Press, 2009.
ISBN:
9787542631213
Price: 56 yuan

Book Cover of "Structural Transformation of the Media Industry in Asia"

The book is the second in a series that deals with media transformation and media policies around the globe. It specifically focuses on recent developments of the media industry in Asia, with a marked emphasis on East Asia and India. Issues covered in the book include “Globalization and Media Transformation in Asia”, “Public Television and Commercial Networks in Asia”, “National Cinemas in Transnational Perspectives”, “Political Activism, Social Networking, and the Internet”, and “Telecommunication and the Internet in Asia”.

Same as the first in the series, articles included in the book were translated from a variety of leading English journals. The third volume of the series, which devotes its attention to new media (including game and the Internet) and new technologies in a transformed media landscape, will come out next year.


Global Media Policies: New Perspectives

September 19, 2009

Global Media Policies: New Perspectives (Co-Editor; 国际传媒政策新视野).  Shanghai: Shanghai Joint Press, 2005.
ISBN: 7-5426-2186-6

Book Cover of "Global Media Policies: New Perspectives"

Book Cover of "Global Media Policies: New Perspectives"

This is a book I co-edited with my colleagues JIN Guanjun and ZHENG Han, which includes 24 articles translated from a variety of English journals. Issues covered in the book include “Theory and Method”, “National and Supranational Regulations”, “WTO and the Global Media Market”, “Comeptition, Monopoly, Copyright, and New Media Order”, and “New Technologies and Media Transformation”.

The book is the first in a series that deals with media transformation and media policies. The second book in the series, which specifically focuses on Asia (particularly East Asia and India), will come out from the same press this year. Currently we are working on the third volume of the series, which devotes its attention to new media (including game, the Internet, and social networking) and new technologies in a transformed media landscape.


Chinese Translation of “Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema”

September 6, 2009

Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema. Taipei, Taiwan: Yuan-Liou chuban gongsi [Yuan-Liou Publishing Co., Ltd.], 2001.
ISBN:957-32-4344-X (987)

Book Cover of the Chinese Translation of "Primitive Passions"

Book Cover of the Chinese Translation of "Primitive Passions"

This is the Chinese translation of Rey Chow’s famed book on contemporary Chinese cinema and culture, Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema (Columbia Univ. Press, 1995). Situating modern Chinese film within the broader context of Chinese history and culture, this study argues that the cinema in China belongs to a firm tradition of visual arts that has for many years been suppressed. It analyzes the emotional response to social, political and economic deprivations.

“A rich and powerful work that provides both a dazzling synthesis of contemporary cultural theory and at the same time an exemplary critique of Chinese cinema. It is a book to be read and re-read and is thus highly recommended because it is more than a film book. It engages directly with the problems Chinese culture faces in a changing world.” — China Information


The Imagined City: Literary, Cinematic, and Visual Shanghai, 1927-1937

August 27, 2009

The Imagined City: Literary, Cinematic, and Visual Shanghai, 1927-1937 (in Chinese).  Shanghai: Fudan University Press, 2009. ISBN:9787309064124

Book Cover of "The Imagined City"

Book Cover of "The Imagined City"

This Chinese book is based on the author’s English dissertation submitted to USC. It is a study of the city of Shanghai’s semi-colonial culture during the years of 1927 to 1937, the first decade of Chiang Kai-Shek’s Nanjing Government. Drawing upon a wide variety of literary, cultural, and film theories, the author investigates various genres and types of “Shanghai narratives” that have been largely neglected or rarely researched: fiction, film, architecture, advertising, and fashion. The author further contends that, with the advent and flourishing of various models of interpretation that tried to “make sense” of the metropolis, Shanghai quickly transformed from a “natural landscape” to a deeply-layered “cultural landscape.” The investigation of the competing discourses of the constructive and destructive potential of the metropolis, therefore, is more of an attempt to explore how the urban landscape of Shanghai was culturally imagined in ideological and gender terms than of an endeavor to document an already vanished past.