14. Narrative Images of the Historical Passion: Those Other Women— On the Alterity in the New Wave of Chinese Cinema

Kapitel in diesem Buch

1. Frontmatter i
2. Contents vii
3. List of Illustrations ix
4. Preface xi
5. Historical Introduction. Chinese Cinemas (1896–1996) and Transnational Film Studies 1
6. Part I. Nation-Building, National Cinema, Transnational Cinema
7. 1. Anti-Imperialism and Film Censorship During the Nanjing Decade, 1927–1937 35
8. 2. Two Stage Sisters: The Blossoming of a Revolutionary Aesthetic 59
9. 3. From “Minority Film” to “Minority Discourse”: Questions of Nationhood and Ethnicity in Chinese Cinema 81
10. 4. National Cinema, Cultural Critique, Transnational Capital The Films of Zhang Yimou 105
11. Part II. The Politics of Cultural and National Identity in the Cinemas of Taiwan and Hong Kong
12. 5. Constructing a Nation: Taiwanese History and the Films of Hou Hsiao-hsien 139
13. 6. The Diaspora in Postmodern Taiwan and Hong Kong Film: Framing Stan Lai’s The Peach Blossom Land with Allen Fong’s Ah Ying 169
14. 7. Breaking the Soy Sauce Jar: Diaspora and Displacement in the Films of Ang Lee 187
15. 8. Transnational Action: John Woo, Hong Kong, Hollywood 221
16. 9. Jackie Chan and the Cultural Dynamics of Global Entertainment 239
17. Part III. Engendering History and Nationhood: Cross-Cultural and Gendered Perspectives
18. 10. Reading Formations and Chen Kaige’s Farewell My Concubine 265
19. 11. The New Woman Incident: Cinema, Scandal, and Spectacle in 1935 Shanghai 277
20. 12. Gendered Perspective: The Construction and Representation of Subjectivity and Sexuality in Ju Dou 303
21. 13. The Concubine and the Figure of History: Chen Kaige’s Farewell My Concubine 331
22. 14. Narrative Images of the Historical Passion: Those Other Women— On the Alterity in the New Wave of Chinese Cinema 347
23. Chinese Glossary 361
24. Filmography 369
25. Bibliography 379
26. Notes on Contributors 403
27. Index 407