Get 20M+ Full-Text Papers For Less Than $1.50/day. Start a 14-Day Trial for You or Your Team.

Learn More →

The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-first Century (review)

The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-first Century (review) Reviews 385 Cohen,Myron.2005.Kinship, Contract, Community, and State: Anthropological Perspectives on China.Stanford,CA:StanfordUniversityPress. Freedman,Maurice.1958.Lineage Organization in Southeast China.London:AlthonePress. Guo,Qitao.2005.Ritual Opera and Mercantile Lineage: The Confucian Transformation of Popular Culture in Late Imperial Huizhou.Stanford,CA:StanfordUniversityPress. Heimer,M.,andS.Thogersen.2006.Doing Fieldwork in China.Honolulu:UniversityofHawai`i Press. Hsu,Francis.1967.Under the Ancestor's Shadow: Kinship, Personality, and Social Mobility. Stanford,CA:StanfordUniversityPress. Hymes,Robert.2002.Way and Byway: Taoism, Local Religion, and Models of Divinity in Sung and Modern China.Berkeley:UniversityofCaliforniaPress. Mueggler,Erik.2001.The Age of Wild Ghosts: Memory, Violence, and Place in Southwest China. Berkeley:UniversityofCaliforniaPress. Rack,Mary.2005.Ethnic Distinctions, Local Meanings: Negotiating Cultural Identities in China. London:PlutoPress. Roche,Gerald,Nagtshanggrubrgyal,andMtshomoskyid.2009."TibetanLifeandTibetologicalDiscourse:DifferencesandRecommendations."Asian Highlands Perspectives1:313­347. Scott,JamesC.2010.OpeningaddresspresentationattheconferenceAsianBorderlands: Enclosure,Interaction,andTransformation.ChiangMai,Thailand.November5­7,2010. Tan,Chee-Beng,ed.2006.Southern Fujian: Reproduction of Traditions in Post-Mao China.Hong Kong:ChineseUniversityPress. ZhangZhen,editor.The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-first Century.Durham,NC:DukeUniversityPress, 2007.x,447pp.Paperback$26.95,isbn978-0-8223-4074-4.Hardcover $94.95,isbn978-0-8223-4053-9. Inthethreeyearsthisbookhasbeenavailable,graduatestudentsandallofus engagedinresearchonChinesefilmhavefounditinvaluable.Frequentreferences, particularlytothechaptersbythemorewidelyknowncontributors,attesttothe enduringimpactofthework.Someofthechaptersprovide,ineffect,apreviewof subsequentbooksfromthesameauthors.ZhangZhenbeginsthecollectionwitha considerationofthelabel"urbangeneration,"offeringinsightintothewaysin whichthefilmmakersdiscussedinthesepagescanbeunderstoodasdifferentfrom theirolderpeers.Theemergenceofasingularandsomewhatunexpectedfifth generationinthemid-1980sledtoagenerationalemphasisinChinesefilmstudies.Thealmostimmediatedissipationofthefifthgenerationraisedquestions © 2012 by University of Hawai`i Press 386 ChinaReviewInternational:Vol.17,No.3,2010 abouttheutilityofgenerationalorotherwaysofidentifyingcontemporarytrends. Zhangprovidesabrief,insightfuloverviewofthenewmodalitiesforviewingthese films,includingfilmclubsandothergroups.Thesespectatorpracticesreinforce thesenseofindependenceassociatedwiththesenew,post­fifthgeneration fi lmmakers. Threesectionsfollow:"Ideology,FilmPractice,andtheMarket";"ThePolitics andPoeticsofUrbanSpace";and"TheProductionofDesireandIdentities."The firstpartexaminesthehistoricalconditionsoutofwhichtheurbangeneration emerged.YingjinZhangoffershisthoughtsontheinterplaybetweenpolitics,art, capital,andmarginalityinapostsocialistmilieu.Hequestionstheassumptions somecriticsmakeabouttheundergroundorresistantstandofthesefilm akers, m arguingpersuasivelyforamorenuancedview.JasonMcGrathusesthefilmsofJia Zhangketoassessthequestionofrealisminthisdirector'saesthetics,including The World,whichmarkedadeparturefromJia'sShanxiroots.ThealwaysstimulatingChrisBerryintroducesideasaboutthenewkindofdocumentaryapproachin manyofthesefilms,anticipatingsomeofthethemesinthevolumehehasedited withLuXinyuandLisaRofel,The New Chinese Documentary Film Movement: For the Public Record(UniversityofHongKongPress,2010). SheldonLustartsthesecondsectionwithanicelyorganizedessayonurban spaceasreflectedinrecentfilmsandinavant-gardeart,includingphotography.It isausefulreminderofwiderartisticcross-currentsandpracticesthathavealways influencedChinesefilm.DemolitionandrelocationfigurealsoinYomiBraester's chapteronwhathecalls"thelimitsofthedocumentaryimpulse"(p. 161).This anticipateshissplendidPainting the City Red: Chinese Cinema and the Urban Contract(DukeUniversityPress,2010).AugustaPalmerexaminesimagesofthe cityinStreet Angel(1937)andthe1998filmBeautiful New World,directedbyShi Runjiu,particularlythoseimagesoftheskyscraperasanemblemofmodernity andShanghai'sdistinction.LindaChiu-HanLailooksaturbandriftersinrecent films,explainingthedifferencesbetweenfifth-generationHuangJianxin'surban charactersandthoseofmoreindependent,youngerdirectors. Thethirdsectionisawide-rangingsetofchapters,startingwithShuqinCui's enthusiasticexplorationofsexuality,class,andageinNingYing'sBeijingtrilogy. DespitebeingperhapstheonlyauthorherewhohasnoChinese-languageability, BéréniceReynaudinsightfullyassesseswhatshearguesistheapparentcontradictionbetweenZhangYuan'srealistinclinationsandhistheatricalizationofurban space.XuepingZhongfocusesonLüYue'sdrollMr. Zhao(1998)anditspresentationofmaledesireanddiscontent.YaohuaShilooksatseveralfilmsfeaturing policeofficers,includingZhangYuan'sEast Palace, West PalaceandNingYing'sOn the Beat,comparingthemwithprevious,mainstreamrepresentationsofpolice. ZhangZhenbookendsthecollectionwithawonderfulcomparisonofthefemale http://www.deepdyve.com/assets/images/DeepDyve-Logo-lg.png China Review International University of Hawai'I Press

The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-first Century (review)

China Review International , Volume 17 (3) – Jun 15, 2010

Loading next page...
 
/lp/university-of-hawai-i-press/the-urban-generation-chinese-cinema-and-society-at-the-turn-of-the-lowUnuAkxN
Publisher
University of Hawai'I Press
Copyright
Copyright © University of Hawai'i Press.
ISSN
1527-9367
Publisher site
See Article on Publisher Site

Abstract

Reviews 385 Cohen,Myron.2005.Kinship, Contract, Community, and State: Anthropological Perspectives on China.Stanford,CA:StanfordUniversityPress. Freedman,Maurice.1958.Lineage Organization in Southeast China.London:AlthonePress. Guo,Qitao.2005.Ritual Opera and Mercantile Lineage: The Confucian Transformation of Popular Culture in Late Imperial Huizhou.Stanford,CA:StanfordUniversityPress. Heimer,M.,andS.Thogersen.2006.Doing Fieldwork in China.Honolulu:UniversityofHawai`i Press. Hsu,Francis.1967.Under the Ancestor's Shadow: Kinship, Personality, and Social Mobility. Stanford,CA:StanfordUniversityPress. Hymes,Robert.2002.Way and Byway: Taoism, Local Religion, and Models of Divinity in Sung and Modern China.Berkeley:UniversityofCaliforniaPress. Mueggler,Erik.2001.The Age of Wild Ghosts: Memory, Violence, and Place in Southwest China. Berkeley:UniversityofCaliforniaPress. Rack,Mary.2005.Ethnic Distinctions, Local Meanings: Negotiating Cultural Identities in China. London:PlutoPress. Roche,Gerald,Nagtshanggrubrgyal,andMtshomoskyid.2009."TibetanLifeandTibetologicalDiscourse:DifferencesandRecommendations."Asian Highlands Perspectives1:313­347. Scott,JamesC.2010.OpeningaddresspresentationattheconferenceAsianBorderlands: Enclosure,Interaction,andTransformation.ChiangMai,Thailand.November5­7,2010. Tan,Chee-Beng,ed.2006.Southern Fujian: Reproduction of Traditions in Post-Mao China.Hong Kong:ChineseUniversityPress. ZhangZhen,editor.The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-first Century.Durham,NC:DukeUniversityPress, 2007.x,447pp.Paperback$26.95,isbn978-0-8223-4074-4.Hardcover $94.95,isbn978-0-8223-4053-9. Inthethreeyearsthisbookhasbeenavailable,graduatestudentsandallofus engagedinresearchonChinesefilmhavefounditinvaluable.Frequentreferences, particularlytothechaptersbythemorewidelyknowncontributors,attesttothe enduringimpactofthework.Someofthechaptersprovide,ineffect,apreviewof subsequentbooksfromthesameauthors.ZhangZhenbeginsthecollectionwitha considerationofthelabel"urbangeneration,"offeringinsightintothewaysin whichthefilmmakersdiscussedinthesepagescanbeunderstoodasdifferentfrom theirolderpeers.Theemergenceofasingularandsomewhatunexpectedfifth generationinthemid-1980sledtoagenerationalemphasisinChinesefilmstudies.Thealmostimmediatedissipationofthefifthgenerationraisedquestions © 2012 by University of Hawai`i Press 386 ChinaReviewInternational:Vol.17,No.3,2010 abouttheutilityofgenerationalorotherwaysofidentifyingcontemporarytrends. Zhangprovidesabrief,insightfuloverviewofthenewmodalitiesforviewingthese films,includingfilmclubsandothergroups.Thesespectatorpracticesreinforce thesenseofindependenceassociatedwiththesenew,post­fifthgeneration fi lmmakers. Threesectionsfollow:"Ideology,FilmPractice,andtheMarket";"ThePolitics andPoeticsofUrbanSpace";and"TheProductionofDesireandIdentities."The firstpartexaminesthehistoricalconditionsoutofwhichtheurbangeneration emerged.YingjinZhangoffershisthoughtsontheinterplaybetweenpolitics,art, capital,andmarginalityinapostsocialistmilieu.Hequestionstheassumptions somecriticsmakeabouttheundergroundorresistantstandofthesefilm akers, m arguingpersuasivelyforamorenuancedview.JasonMcGrathusesthefilmsofJia Zhangketoassessthequestionofrealisminthisdirector'saesthetics,including The World,whichmarkedadeparturefromJia'sShanxiroots.ThealwaysstimulatingChrisBerryintroducesideasaboutthenewkindofdocumentaryapproachin manyofthesefilms,anticipatingsomeofthethemesinthevolumehehasedited withLuXinyuandLisaRofel,The New Chinese Documentary Film Movement: For the Public Record(UniversityofHongKongPress,2010). SheldonLustartsthesecondsectionwithanicelyorganizedessayonurban spaceasreflectedinrecentfilmsandinavant-gardeart,includingphotography.It isausefulreminderofwiderartisticcross-currentsandpracticesthathavealways influencedChinesefilm.DemolitionandrelocationfigurealsoinYomiBraester's chapteronwhathecalls"thelimitsofthedocumentaryimpulse"(p. 161).This anticipateshissplendidPainting the City Red: Chinese Cinema and the Urban Contract(DukeUniversityPress,2010).AugustaPalmerexaminesimagesofthe cityinStreet Angel(1937)andthe1998filmBeautiful New World,directedbyShi Runjiu,particularlythoseimagesoftheskyscraperasanemblemofmodernity andShanghai'sdistinction.LindaChiu-HanLailooksaturbandriftersinrecent films,explainingthedifferencesbetweenfifth-generationHuangJianxin'surban charactersandthoseofmoreindependent,youngerdirectors. Thethirdsectionisawide-rangingsetofchapters,startingwithShuqinCui's enthusiasticexplorationofsexuality,class,andageinNingYing'sBeijingtrilogy. DespitebeingperhapstheonlyauthorherewhohasnoChinese-languageability, BéréniceReynaudinsightfullyassesseswhatshearguesistheapparentcontradictionbetweenZhangYuan'srealistinclinationsandhistheatricalizationofurban space.XuepingZhongfocusesonLüYue'sdrollMr. Zhao(1998)anditspresentationofmaledesireanddiscontent.YaohuaShilooksatseveralfilmsfeaturing policeofficers,includingZhangYuan'sEast Palace, West PalaceandNingYing'sOn the Beat,comparingthemwithprevious,mainstreamrepresentationsofpolice. ZhangZhenbookendsthecollectionwithawonderfulcomparisonofthefemale

Journal

China Review InternationalUniversity of Hawai'I Press

Published: Jun 15, 2010

There are no references for this article.