Frontmatter

Kapitel in diesem Buch

1. Frontmatter i
2. Contents vii
3. Acknowledgments ix
4. Introduction xi
5. PART ONE: EARLY PRODUCTION
6. 1. From Shadow-Play to a National Cinema 3
7. 2. Reconstructing History: The (Im)possible Engagement between Feminism and Postmodernism in Stanley Kwan’s Center Stage 30
8. PART TWO: SOCIALIST CINEMA
9. 3. Constructing and Consuming the Revolutionary Narratives 51
10. 4. Gender Politics and Socialist Discourse in Xie Jin’s The Red Detachment of Women 79
11. PART THREE: THE NEWWAVE
12. 5. Screening China: National Allegories and International Receptions 99
13. 6. The Search for Male Masculinity and Sexuality in Zhang Yimou’s Ju Dou 127
14. 7. Subjected Body and Gendered Identity: Female Impersonation in Chen Kaige’s Farewell My Concubine 150
15. PART FOUR: WOMEN’S FILMS
16. 8. Feminism with Chinese Characteristics? 171
17. 9. Desire in Difference: Female Voice and Point of View in Hu Mei’s Army Nurse 200
18. 10. Transgender Masquerading in Huang Shuqin’s Human,Woman, Demon 219
19. Postscript 239
20. Filmography 249
21. Notes 269
22. Works Cited 287
23. Index 299