Chapters in this book

1. Frontmatter I
2. Contents V
3. Acknowledgments IX
4. Note on Romanization XI
5. Introduction: Mapping the Field of Chinese-Language Cinema 1
6. PART ONE Historiography, Periodization, Trends
7. CHAPTER ONE Shadow Opera Toward a New Archaeology of the Chinese Cinema 27
8. CHAPTER TWO Bodies in the Air: The Magic of Science and the Fate of the Early "Martial Arts" Film in China 52
9. CHAPTER THREE Postsadness Taiwan New Cinema: Eat, Drink, Everyman, Everywoman 76
10. CHAPTER FOUR Working from the Margins: Urban Cinema and Independent Directors in Contemporary China 96
11. CHAPTER FIVE Chinese Film Culture at the End of the Twentieth Century: The Case of Not One Less by Zhang Yimou 120
12. PART TWO Poetics, Directors, Styles
13. CHAPTER SIX Transcultural Spaces Toward a Poetics of Chinese Film 141
14. CHAPTER SEVEN Poetics and Politics of Hou Hsiao-hsien's Films 163
15. CHAPTER EIGHT Jia Zhangke's Cinematic Trilogy: A Journey across the Ruins of Post-Mao China 186
16. CHAPTER NINE Novels into Film: Liu Yichang's Tête-Bêche and Wong Kar-wai's In the Mood for Love 210
17. CHAPTER TEN Crouching Tiger, Hidden Dragon, Bouncing Angels: Hollywood, Taiwan, Hong Kong, and Transnational Cinema 220
18. PART THREE Politics, Nationhood, Globalization
19. CHAPTER ELEVEN Borrowing Postcolonial Wu Nianzhen's Dou-san and the Memory Mine 237
20. CHAPTER TWELVE Locating Feminine Writing in Taiwan Cinema: A Study of Yang Hui-shan's Body and Sylvia Chang's Siao 267
21. CHAPTER THIRTEEN Fists of Legend Constructing Chinese Identity in the Hong Kong Cinema 280
22. CHAPTER FOURTEEN Hong Kong Diaspora Film and Transnational Television Drama From Homecoming to Exile to Flexible Citizenship 298
23. CHAPTER FIFTEEN Hybridity and (G)local Identity in Postcolonial Hong Kong Cinema 312
24. CHAPTER SIXTEEN Global Modernity, Postmodern Singapore, and the Cinema of Eric Khoo 329
25. Filmography: Selected Chinese-Language Films 363
26. Chinese Glossary 371
27. Bibliography 377
28. Notes on Contributors 399
29. Index 403