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Bibliography BIBLIOGRAPHY An Jingfu (1994) The Pain of a Half Taoist: Taoist Principles, Chinese Landscape Painting, and King of the Children . In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 117–25. Anderson, Marston (1990) The Limits of Realism: Chinese Fiction in the Revolutionary Period . Berkeley: University of California Press. Anon (1937) “Yueyu pian zhengming yundong” [“Jyutpin zingming wandung” or Cantonese fi lm rectifi cation movement]. Lingxing [ Ling Sing ] 7, no. 15 (June 27, 1937): no page. Appelo, Tim (2014) ‘Wong Kar Wai Says His 108-Minute “The Grandmaster” Is Not “A Watered-Down Version”’, The Hollywood Reporter (6 January), http:// www.hollywoodreporter.com/news/wong-kar-wai-says-his-668633 . Aristotle (1996) Poetics , trans. Malcolm Heath (London: Penguin Books). Arroyo, José (2000) Introduction by José Arroyo (ed.) Action/Spectacle: A Sight and Sound Reader (London: BFI Publishing), vii-xv. Astruc, Alexandre (2009) ‘The Birth of a New Avant-Garde: La Caméra-Stylo ’ in Peter Graham with Ginette Vincendeau (eds.) The French New Wave: Critical Landmarks (London: BFI and Palgrave Macmillan), 31–7. Bao, Weihong (2015) Fiery Cinema: The Emergence of an Affective Medium in China, 1915–1945 (Minneapolis: University of Minnesota Press). Barthes, Roland (1968a) Elements of Semiology (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1968b) Writing Degree Zero (trans. Annette Lavers and Colin Smith). New York: Hill and Wang. Barthes, Roland (1972) Mythologies (trans. Annette Lavers), New York: Hill and Wang. © The Editor(s) (if applicable) and The Author(s) 2016 203 G. Bettinson, J. Udden (eds.), The Poetics of Chinese Cinema, DOI 10.1057/978-1-137-55309-6 204 BIBLIOGRAPHY Barthes, Roland (1977 [1964]) Rhetoric of the Image. In S. Heath (ed.) Image, Music, Text. New York: Hill and Wang, pp.32–51. Barthes, Roland (1981) Camera Lucida: Refl ections on Photography (trans. R. Howard). New York: Hill and Wang. Barthes, Roland (2010) Mourning Diary: October 26, 1977 - September 15, 1979 (trans. R. Howard). New York: Hill and Wang. Barthes, Roland (2012) Travels in China (ed. AH Pierrot , trans. A. Brown). Cambridge: Polity Press. Benjamin, Walter (1969) The Work of Art in the Age of Mechanical Reproduction. In H. Arendt (ed.) Illuminations (trans. H. Zohn). New York: Schocken, pp.217–251. Berliner, Todd (2010) Hollywood Incoherent: Narration in Seventies Cinema . Austin: University of Texas Press. Berliner, Todd (2013) “Hollywood Storytelling and Aesthetic Pleasure,” in Arthur P. Shimamura (ed.) Psychocinematics: Exploring Cognition at the Movies , Oxford & New York: Oxford University Press, 195–213. Berry, Chris (1994) “Neither One Thing Nor Another: Toward a Study of the Viewing Subject and Chinese Cinema in the 1980s.” In Nick Browne, Paul G. Pickowicz, Vivian Sobchack, and Esther Yau (eds.). New Chinese Cinemas: Forms, Identities, Politics . Cambridge: Cambridge University Press, 88–113. Berry, Chris (2007) “Getting Real: Chinese Documentary, Chinese Postsocialism.” In Z. Zhen (ed.) The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-First Century. Durham, NC: Duke University Press, pp.115–134. Berry, Chris (2012) “Every Colour Red? Colour in the Films of the Cultural Revolution Model Stage Works.” Journal of Chinese Cinemas 6:3, 233–246. Berry, Chris and Mary Ann Farquhar (1994) “Post-Socialist Strategies: an Analysis of Yellow Earth and Black Cannon Incident .” In Linda C. Ehrlich and David Desser (eds.). Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan . Austin: University of Texas Press, 81–116. Berry, Chris and Mary Ann Farquhar (2006) China on Screen: Cinema and Nation. New York: Columbia University Press. Berry, Chris, Lu X. and L. Rofel (eds) (2010) The New Chinese Documentary Film Movement: For the Public Record. Hong Kong: Hong Kong University Press. Berry, Michael (2005) “Chen Kaige: Historical Revolution and Cinematic Rebellion.” In Speaking in Images: Interviews with Contemporary Chinese Filmmakers . New York: Columbia University Press, 82–106. Bettinson, Gary (2013) “Sounds of Hong Kong Cinema: Johnnie To, Milkyway Image, and the Sound Track.” Jump Cut: A Review of Contemporary Media 55 (Fall). http://www.ejumpcut.org/archive/jc55.2013/BettinsonToAudio/ index.html . BIBLIOGRAPHY 205 Bettinson, Gary (2014) The Sensuous Cinema of Wong Kar-wai: Film Poetics and the Aesthetic of Disturbance . Hong Kong: Hong Kong University Press. Bettinson, Gary (2015) “Hong Kong Stars and Stardom,” in A Companion to Hong Kong Cinema , edited by Esther M.K. Cheung, Gina Marchetti, and Esther C.M. Yau, West Sussex: Wiley-Blackwell, 379–387. Bettinson, Gary (2016) “Once Upon a Time in China and America: Transnational Storytelling and the Recent Films of Peter Chan,” in Felicia Chan and Andy Willis (eds), Chinese Cinemas: International Perspectives , London & New York: Routledge, 37–52. Bordwell, David (1985) Narration in the Fiction Film (Madison: The University of Wisconsin Press). Bordwell, David (1988) Ozu and the Poetics of Cinema (Princeton, N.J: Princeton University Press). Bordwell, David (1989) “Historical Poetics of Cinema,” in The Cinematic Text: Methods and Approaches , edited by R. Barton Palmer, New York: AMS Press, 369–398. Bordwell, David (1993) The Cinema of Eisenstein . Cambridge, Mass.: Harvard University Press. Bordwell, David (1995) “Contemporary Film Studies and the Vicissitudes of Grand Theory,” in David Bordwell and Noël Carroll (eds) Post-Theory: Reconstructing Film Studies , Madison: University of Wisconsin Press, 3–36. Bordwell, David (2000/2011 [2nd ed.]) Planet Hong Kong: Popular Cinema and the Art of Entertainment . Cambridge, Mass; London: Harvard University Press. Bordwell, David (2001) “Transcultural Spaces: Toward a Poetics of Chinese Film.” Post Script 20:2/3, 9–24. Bordwell, David (2001a) “Aesthetics in Action: Kungfu , Gunplay, and Cinematic Expressivity,” in Esther C.M. Yau (ed.) At Full Speed: Hong Kong Cinema in a Borderless World , Minneapolis; London: University of Minnesota Press, 73–93. Bordwell, David (2002) “Richness Through Imperfection: King Hu and the Glimpse,” in The Cinema of Hong Kong: History, Arts, Identity , edited by Poshek Fu and David Desser, Cambridge: Cambridge University Press, 113–136. Bordwell, David (2003) “Louder Than Words: The Films of Johnnie To.” Artforum International 41:9 (May), 154–157. Bordwell, David (2005) Figures Traced in Light: On Cinematic Staging . Berkeley, Los Angeles, London: University of California Press. Bordwell, David (2006) “The Departed: No Departure.” Observations on Film Art: David Bordwell’s Website on Cinema . October 10. http://www.davidbor- dwell.net/blog/2006/10/10/the-departed-no-departure/ . Bordwell, David (2006) The Way Hollywood Tells It: Story and Style in Modern Movies. Berkeley: University of California Press. Bordwell, David (2008) Poetics of Cinema . New York & London: Routledge. 206 BIBLIOGRAPHY Bordwell, David (2009) “Another Shaw Production: Anamorphic Adventures in Hong Kong,” David Bordwell’s Website on Cinema: Observations on Film Art (October). http://www.davidbordwell.net/essays/shaw.php Bordwell, David (2013) “VIFF 2013 Finale: The Bold and the Beautiful, Sometimes Together.” Observations on Film Art: David Bordwell’s Website on Cinema (October 21), http://www.davidbordwell.net/blog/2013/10/21/ viff-2013-fi nale-the-bold-and-the-beautiful-sometimes-together Bordwell, David; Janet Staiger, and Kristin Thompson (1985) The Classical Hollywood Cinema: Film Style and Mode of Production to 1960 (New York: Columbia University Press). Bourdieu, Pierre (1999[1965]) “The Social Defi nition of Photography.” In J. Evans and S. Hall (eds) Visual Culture: A Reader. London: Sage, pp.162–180. Bowman, Paul (2010) Theorizing Bruce Lee: Film-Fantasy-Fighting- Philosophy (Amsterdam and New York: Rodopi). Bowman, Paul (2013) Beyond Bruce Lee: Chasing the Dragon Through Film, Philosophy, and Popular Culture (London and New York: Wallfl ower Press). Browne, Nick (1980) “Film Form/Voice Over: Bresson’s Diary of a Country Priest. ” Yale French Studies 60, 233–240. Buckland, Warren (2006) Directed by Steven Spielberg: Poetics of the Contemporary Hollywood Blockbuster . New York & London: Continuum. Buhot, Jean (1967) Chinese and Japanese Landscape Art; with Sections on Korea and Vietnam . Translated from the French by Rémy Inglis Hall. Edited by Charles McCurdy. New York: Anchor Books [Gallimard, 1961]. Burch, Noël (1979) “Mizoguchi Kenji.” In To the Distant Observer: Form and Meaning in the Japanese Cinema . London: Scholar Press, 228–34. Cahill, James (1997) “Approaches to Chinese Painting, Part II.” In Yang Xin, Nie Chongzhen, Lang Shaojun, Richard M. Barnhart, Jamesa Cahill, and Wu Hung. Three Thousand Years of Chinese Painting . New Haven: Yale University Press, 131–96. Ch’en Yun-ru (2003) “The Five Dynasties and Sung Period.” In Wang Yao-t’ing (ed.). The Art and Aesthetics of Form: Selections from the History of Chinese Paintings . Translated by Donald E. Bix. Taipei: National Palace Museum, 24–35. Chan, Feinung (Chen Feinong, 2007). Yueju liushi nian [ Jyutkek luksap nin or Sixty years in the Cantonese theater]. Hong Kong: The Cantonese Opera Research Programme of the Music Department, the Chinese University of Hong Kong. Chan, Joseph M. (2009) “Policies for a Sustainable Development of Hong Kong Film Industry.” Public Policy Digest
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