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Between Shanghai and Hong Kong: The Politics of Chinese Cinemas

Between Shanghai and Hong Kong: The Politics of Chinese Cinemas BOOK REVIEWS By Poshek Fu. Stanford, CA: Stanford University Press, 2003. $49.50. 228 pages. The first major English-language book on Chinese cinema, Dianying/Electric Shadows, was published by the late Jay Leyda in 1972. Since then, politics and Chinese cinema have remained inextricable, if not coterminous. Why politics? For scholars who are interested in non-Western cinema, politics is always a key word tied to unfamiliar cinematic territories. Maybe this motivated Leyda to write a personal account of an emerging socialist state and its newborn cinema. Like the Soviet cinema, Chinese cinema became an attractive scholarly object because of its revolutionary provenance. This interest persisted, prompting George Semsel to call his edited volume Chinese Film: the State of the Art in the People's Republic (1987). Paul Clark followed suit with his astute investigation, Chinese Cinema: Culture and Politics Since 1949 (1987). The preference for the cinema of the PRC changed when Chinese film scholars began to look into events before the bloody civil war of 1949 (which established the PRC) in order to build a more comprehensive Chinese film historiography. Poshek Fu's book is by far the best scholarly endeavor to tackle this task, providing a wide and inclusive treatment http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png Film Quarterly University of California Press

Between Shanghai and Hong Kong: The Politics of Chinese Cinemas

YEH, EMILIE YY
Film Quarterly , Volume 59 (3) – Apr 1, 2006
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Publisher
University of California Press
Copyright
Copyright © by the University of California Press
ISSN
0015-1386
eISSN
1533-8630
DOI
10.1525/fq.2006.59.3.64
Publisher site
See Article on Publisher Site

Abstract

BOOK REVIEWS By Poshek Fu. Stanford, CA: Stanford University Press, 2003. $49.50. 228 pages. The first major English-language book on Chinese cinema, Dianying/Electric Shadows, was published by the late Jay Leyda in 1972. Since then, politics and Chinese cinema have remained inextricable, if not coterminous. Why politics? For scholars who are interested in non-Western cinema, politics is always a key word tied to unfamiliar cinematic territories. Maybe this motivated Leyda to write a personal account of an emerging socialist state and its newborn cinema. Like the Soviet cinema, Chinese cinema became an attractive scholarly object because of its revolutionary provenance. This interest persisted, prompting George Semsel to call his edited volume Chinese Film: the State of the Art in the People's Republic (1987). Paul Clark followed suit with his astute investigation, Chinese Cinema: Culture and Politics Since 1949 (1987). The preference for the cinema of the PRC changed when Chinese film scholars began to look into events before the bloody civil war of 1949 (which established the PRC) in order to build a more comprehensive Chinese film historiography. Poshek Fu's book is by far the best scholarly endeavor to tackle this task, providing a wide and inclusive treatment

Journal

Film Quarterly – University of California Press

Published: Apr 1, 2006

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