FLM6210 Cinemas in Contemporary China Handbook 2020

Home , Hidden Man, Jiang Wen, Let the Bullets Fly, Saturday Fiction, The Wandering Earth, Youth Film Handbook

DEPARTMENT OF FILM STUDIES SCHOOL OF LANGUAGE, LINGUISTICS AND FILM QUEEN MARY UNIVERSITY OF LONDON

FLM6210 CINEMAS IN CONTEMPORARY CHINA MODULE HANDBOOK

CONVENOR: DR. KIKI TIANQI YU SPRING 2020

Semester: Two Level: 6 Credit Value: 15 Lecture and Screening: Tuesday 3-6pm Queens LG4 Seminar: Thursday 1-2pm Queens LG1 Kiki Office hours: Thursday 2:30-4:30pm Contact details: [email protected] ArtsOne G25.C

Contents

• Module Description

• Learning Outcomes

• Assignments

• Weekly Outline

• General Screening List

• General Reading List

2 DESCRIPTION Taking contemporary Chinese cinema and moving image as case studies, this module examines the concepts of world cinema, global auteurs, generational cinema, independent cinema, the national and the transnational, as well as localized genres and aesthetics in non- Western cinema. While the People's Republic of China (PRC) is now the world's second- largest film industry in terms of revenue, as perhaps befits its putative status as the world's largest economy, cinema and moving image culture are increasingly transnational, collaborative, multi-platform. This course will not only explore the commercial cinema and blockbusters, but also the independent practices and moving image art. It will mainly examine the practices in mainland China since the 1980s, but the practices in Taiwan and Hong Kong will also be discussed, to problematise notions of national, regional, transnational and world cinema.

LEARNING OUTCOMES Students on the module can expect to • engage critically with debates in the field of Chinese cinemas, world cinema, different forms of independent cinema and art cinema, and put them in productive use. • make critical judgements in the understanding and evaluation of a variety of film practices in contemporary China. • understand film practices and cinema culture in China as they have emerged historically and appreciate the processes through which they have come into being, with reference to social, political, cultural and technological change. • draw and reflect upon the relevance and impact of their own cultural commitments and positioning to the film festival programming practice. • employ appropriate methods, theories and resources for exploring a research question. • collate, critically evaluate and understand a variety of research material within and beyond academic literature.

ASSESSMENTS Group project 40%: 2 or 3 students work in a team to curate a film festival programme on a specific theme (discuss with the lecturer). Write a 1000 words programme note and design a poster. The programme note must include: What is the theme? Why do you choose it? What is your selection of films or directors? How will they be presented: how many days/sections and ideal venue? Are you planning to design extra activities to accompany the programme to further engage the audience? If so, what are they? DEADLINE: 15 March 2020 Sunday 11:55pm

Individual essay (3000 words) 60%:

3 You are asked to analyse one or two films/productions screened in class or within the screening list. You must choose one of the themes covered in the module as the framework and engage with a couple of key notions discussed in class. It is to demonstrate your skills of research, detailed textual and contextual analysis, and scholarly argumentation. DEADLINE: 26 April 2020 Sunday 11:55pm

Notes on referencing: Please ensure you follow the guidelines on referencing and writing a bibliography set out in section 5.2 of the SLLF Undergraduate Handbook.

All students must ensure that they obtain a copy of the School Handbook for Undergraduate Students – http://qmplus.qmul.ac.uk/mod/book/view.php?id=314648 – and follow the School’s guidelines and regulations in all matters regarding this module.

WEEKLY OUTLINE Week 1: 21 Jan Introduction and Histories of Chinese Cinemas The first week will give a brief introduction of histories of Chinese cinemas. Starting from early cinema to the rise of Shanghai film industry, then to the flourish of Hong Kong film industry, Socialist cinema in Mao’s China, it will also give a brief account of cinema in Taiwan during the Martial law before the 1980s. Screening: Spring in a small town, dir. Fei Mu, 1948 Reading: Zhang, Zhen. An Amorous History of the Silver Screen: The Actress As Vernacular Embodiment in Early Chinese Film Culture, Camera Obscura, 48 (Volume 16, Number 3), 2001, pp. 228-263. Paul Clark, “Artists, Cadres, and Audiences: Chinese Socialist Cinema, 1949-1979” in A Companion to Chinese Cinema, edited by Zhang, Yingjin. Wiley-Blackwell, 2012. Additional Reading: Huang, Xuelei, Shanghai Filmmaking: Crossing Borders, Connecting to the Globe, 1922- 1938, Brill: Leiden and Boston, 2014. Zhang, Zhen. An Amorous History of the Silver Screen: Shanghai Cinema 1896-1937, University of Chicago Press, 2005.

Week 2: 28 Jan Generational filmmakers, world cinema and global auteurs 1 This week will open the discussion on cinemas in contemporary China with the rise of 5th generation director in the 1980s. It will explore the notion of generational cinema in China

4 within the context of the rise of world cinema and the production of global auteurs by international film festivals. Comparatively, it will also briefly discuss Taiwan New Wave in the 1980s. Screening: Farewell My Concubine, dir. Chen Kaige, 1993 Reading: Elsaesser, Thomas. ‘The Global Author: Control, Creative Constraints and Performative Self Contradiction’ in The Global Auteur: The Politics of Authorship in 21st Century Cinema, Bloomsbury Academic, 2016. Cui, Shuqin: “Subjected Body and Gendered Identity Female Impersonation in Chen Kaige’s Farewell My Concubine” in Women Through the Lens: Gender and Nation in a Century of Chinese Cinema, University of Hawaii Press, 2003

Week 3: 4 Feb Generational filmmakers, world cinema and global auteurs 2 This week will explore works by the 6th generation directors, led by Wang Xiaoshuai, Jiang Wen, Lou Ye and Jia Zhangke. It will examine how their cinema differs from the previous generation in terms of themes and aesthetics. It will also contextualise their films in the local underground and independent cinema, in relation to censorship and film policy. Screening: Xiao Wu/Unkown Pleasure, dir. Jia Zhangke, 2003 Reading: Zhang, Yingjin. “Rebel without a Cause? China’s New Urban Generation and Postsocialist Filmmaking.” In The Urban Generation Chinese Cinema and Society at the Turn of the Twenty-first Century, edited by Zhang Zhen, 49-80. Durham and London: Duke University Press, 2007. Fan, Victor. “Revisiting Jia Zhangke: Individuality, Subjectivity, and Autonomy in Contemporary Chinese Independent Cinema” in The Global Auteur: The Politics of Authorship in 21st Century Cinema, Bloomsbury, 2016. Additional reading: Berry, Michael. Jia Zhangke's 'Hometown Trilogy': Xiao Wu, Platform, Unknown Pleasures. Bloomsbury Academic, 2009. Zhang, Zhen. (ed.) The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty-First Century. Duke University Press, 2007.

Week 4: 11 Feb Local blockbusters, national sentiments and identities This week will focus on the rise of local film industry and productions of local blockbusters. Taking Feng Xiaogang’s New Year films and Zhang Yimou’s martial art cinema as examples, it will discuss how local blockbusters aim to construct national identity and create national sentiments. It will also discuss new forms of main-melody films such as the recent

5 My Country, My People, Forever Young, and Youth, and the first successful blockbuster sci-fi Wandering Earth (2019). Screening: The Wandering Earth, dir. Fan Guo/Frant Gwo, 2019 Suggested viewing: Youth, dir. Feng Xiaogang, 2017 Reading: Emilie Yueh-yu Yeh & Darrell William Davis (2008) “Re-nationalizing China's film industry: case study on the China Film Group and film marketization”, Journal of Chinese Cinemas, 2:1, 37-51, DOI: 10.1386/jcc.2.1.37_1 Rosen, Stanley. “Film and Society in China: The Logic of the Market”, in A Companion to Chinese Cinema, edited by Yingjing Zhang, Wiley-Blackwell, 2012. Lu, Yi. “ The malling of the movies: Film exhibition reforms, multiplexes, and film consumption in the new millennium in urban China”, in Journal of Chinese Cinemas, 10:3, 205-227, 2016. DOI: 10.1080/17508061.2016.1163883 Additional reading: Zhu, Ying. “New Year Film as Chinese Blockbuster: From Feng Xiaogang’s Contemporary Urban Comedy to Zhang Yimou’s Period Drama” in Art, Politics, and Commerce in Chinese Cinema, edited by Ying Zhu, Stanley Rosen, Hong Kong University Press, 2010.

Week 5: 18 Feb Documentary and non-fiction: alternative spaces and personal filmmaking This week will focus on an essential part of Chinese independent cinema - independent documentary that emerged at the end of 1980s. The availability of DV camera on the retail market in the late 1990s has made documentary filmmaking accessible to individual amateurs and largely facilitated the long repressed personal filmmaking. This week will discuss independent documentary as personal expression and social engagement in the still politically repressed China. Screening: Nostalgia, dir. Shu Haolun, 2003 Clips from films including Children’s Village, dir. Zou Xueping, 2012 Reading: Yu, Kiki Tianqi. “Nostalgia toward Laojia: Old Home as an Imagined Past” in 'My' Self on Camera: First Person Documentary Practice in an Individualising China, Edinburgh: University of Edinburgh Press, 2019 Edwards, Dan. “From Underground Practice to Alternative Public Sphere” in Independent Chinese Documentary: Alternative Visions, Alternative Publics, Edinburgh: University of Edinburgh Press, 2015. Cui, Shuqin. “Chai Jing's Under the Dome: A multimedia documentary in the digital age”, in Journal of Chinese Cinemas, 11:1, 30-45, 2017. DOI: 10.1080/17508061.2016.1269481

Week 6: 25 Feb Women’s cinema This week will dedicate to women’s cinema in contemporary China. Even though there are very few female directors received public acclaimed, cinema by women presents a valuable perspective on gender, sexuality, history, culture, society, and demonstrates interesting forms of aesthetic experimentation. We will discuss fiction films by Yang Lina, Li Yu, Syvian Zhang as well as documentary works by Wen Hui, Zou Xueping, etc. Screening: Buddha Mountain, dir. Li Yu, 2010 Reading: Wang, Lingzhen. “Chinese Women’s Cinema”, in A Companion to Chinese Cinema, edited by Zhang, Yingjin. Wiley-Blackwell, 2012 Cui, Shuqin. “Searching for Female Sexuality and Negotiating with Feminism: Li Yu's Film Trilogy” in Chinese Women’s Cinema: Transnational Contexts, Edited by Lingzhen Wang, Columbia University Press, 2011 Bao, Hongwei. “Performing gender in Chinese cinema” in Routledge Handbook of East Asian Gender Studies, edited by Edited ByJieyu Liu, Junko Yamashita, 2019

Week 7 Reading week

Week 8: 10 March Transnational Chinese cinema and co-productions This week will explore Chinese cinema in the transnational context. It will discuss transregional sinophone film co-productions within East Asia, as well as China’s collaboration with Hollywood. Special attention will be paid to how transnational cinema gives rise to Chinese stars on the global stage, and PRC’s ambition to strengthen its soft power through cinema. Screening: Hero, dir. Zhang Yimou, 2003 Reading: Berry, C. (2010), ‘What is transnational cinema? Thinking from the Chinese situation’, Transnational Cinemas 1: 2, pp. 111–127, doi: 10.1386/trac.1.2.111_1 Weiying Peng & Michael Keane (2019) China’s soft power conundrum, film coproduction, and visions of shared prosperity, International Journal of Cultural Policy, 25:7, 904-916, DOI: 10.1080/10286632.2019.1634062 Additional readings: Berry, Chris. “Transnational Chinese Cinema Studies”, in The Chinese Cinema Book, edited by Song Hwee Lim and Julian Ward, BFI, 2017.

7 Yuxing Zhou (2015) Pursuing soft power through cinema: censorship and double standards in mainland China, Journal of Chinese Cinemas, 9:3, 239-252, DOI: 10.1080/17508061.2015.1049878

Week 9: 17 March Ethnic minority and Dialect cinemas This week will focus on domestic diversity within China, and explore ethnic minority and dialect cinemas, through a case study on the newly raised Tibetan cinema, especially the films by Pema Tseden. Screening: The Silent Holy Stones, dir. Pema Tseden, 2005 Reading: Grewal, Anup. Contested Tibetan landscapes in the films of Pema Tseden, Journal of Chinese Cinemas, 10:2,135-149, 2016. DOI: 10.1080/17508061.2016.1167336 Berry, Chris. “Pema Tseden and the Tibetan road movie: space and identity beyond the ‘minority nationality film’, in Journal of Chinese Cinemas, 10:2, 89-105, 2016. DOI: 10.1080/17508061.2016.1167334 Victor Fan, “Cinema of Reindividuation and Cultural Extraterritoriality: “Chinese” Dialect Cinemas and Regional Politics” in The Multilingual Screen, New Reflections on Cinema and Linguistic Difference, Bloomsbury, 2016.

Week 10: 24 March Reconfiguring the meaning of independence in the global context With the rise of local film industry and the tightening up of political control over cultural activities under Xi’s leadership, the rhetoric of independence has changed from ideological opposition to the political system to a professional mode of production, and a signifier of a particular taste for bourgeois consumers. This week explores the mechanisms of international co-production of independent cinema, and the political economies therein. Screening: China’s van Goghs, dir. Haibo Yu & Kiki Tianqi Yu, 2016 Reading: Camille Deprez, Judith Pernin. “Introduction” in Post-1990 Documentary: Reconfiguring Independence, Edinburgh University Press, 2015. Chapter 1 “Social and Political Dynamics of Underground Filmmaking in China” in From Underground to Independent: Alternative Film Culture in Contemporary China, edited by Paul G. Pickowicz and Yingjing Zhang.Rowman&Littlefield, 2006. Zito, Angela. and Zhang, Zhen. “Introduction” in DV-Made China: Digital Subjects and Social Transformations after Independent Film. Duke University Press, 2015.

Week 11: 31 March Artist moving image: aesthetics, practices and international exposure

8 This week focuses on cinemas in art spaces, or artist moving image by well-known Chinese contemporary artist-filmmakers including Yang Fudong, Zhao Liang, and Cong Feng. It pays special attention to the aesthetics of moving image in relation to traditional Eastern aesthetics and cultural heritage. Screening: Behemoths, dir. Zhao Liang. 2015. Readings: Kiki T. Yu. Chapter 10, “ ‘Image-Writing’: The Essayistic/Sanwen in Chinese Non-fiction Cinema and Behemoth” in World Cinema and the Essay Film, edited by Brenda Hollweg and Igor Kristic, Edinburgh University Press, 2019. Berry, Chris. “The New Gestural Cinema: Yang Fudong and the Gallery Film”, in Film Quarterly, Vol. 67 No. 3, Spring 2014. pp. 17-29. DOI: 10.1525/fq.2014.67.3.17 Elena Pollacchi (2019) Porous circuits: Tsai Ming-liang, Zhao Liang, and Wang Bing at the Venice International Film Festival and the interplay between the festival and the art exhibition circuits, Journal of Chinese Cinemas, 13:2, 130-146, DOI: 10.1080/17508061.2019.1665239 Additional reading: Dong, Bingfeng. “Cinema of Exhibition: Film in Chinese Contemporary Art.” In China’s iGeneration. Cinema and Moving Image Culture for the Twenty-First Century, edited by M. D.Johnson, K. B. Wagner, K. T. Yu, and L. Volpiani, 73–88. Bloomsbury, 2014. Gladston, Paul. ‘Somewhere (and Nowhere) between Modernity and Tradition: Towards a Critique of International and Indigenous Perspectives on the Significance of Contemporary Chinese Art’, in Tate Papers, no.21, Spring, 2014

Week 12: 7 April Review and Conclusion The final week will review key notions and issues covered in previous weeks and discuss briefly other genres and concepts such as animation films, film, technologies, and eastern philosophy. Screening: Big Fish & Begonia, dir. Zhang Chun, 2018 Reading: Li Guo & Jinying Li (2017) Animating Chinese Cinemas II: animation, technology, and media, Journal of Chinese Cinemas, 11:3, 189-191, DOI: 10.1080/17508061.2017.137655

9 GENERAL SCREENING LIST Spring in a small town, dir. Fei Mu, 1934 Farewell My Concubine, dir. Chen Kaige, 1993 Xiao Wu/Unkown Pleasure, dir. Jia Zhangke, 2003 Youth, dir. Feng Xiaogang, 2017 The Wandering Earth, dir. Fan Guo/Frant Gwo, 2019 Buddha Mountain, dir. Li Yu, 2010 Nostalgia, dir. Shu Haolun, 2003 Hero, dir. Zhang Yimou, 2003 Behemoths, dir. Zhao Liang 2015 The Silent Holy Stones, dir. Pema Tseden, 2005 China’s van Goghs, dir. Haibo Yu & Kiki Tianqi Yu, 2016 The Assassin, dir. Hou Hsiao-Hsien, 2015 Big Fish & Begonia, dir.Zhang Chun, 2018 Red Sorghum, dir. Zhang Yimou, 1987 The Story Of Qiu Ju, dir. Zhang Yimou, 1992 Raise the red Lantern, dir. Zhang Yimou, 1991 To Live, dir. Zhang Yimou, 1994 Shanghai Triad, dir. Zhang Yimou, 1995 Hero, dir. Zhang Yimou, 2003 Coming Home, dir. Zhang Yimou, 2014 Flowers of War, dir. Zhang Yimou, 2013 Shadow, dir. Zhang Yimou, 2017 Yellow Earth, dir. Chen Kaige, 1984 King of the Children, dir. Chen Kaige, 1989 In the Heat of the Sun, Jiang Wen 1994 Let The Bullets Fly, dir. Jiang Wen, 2012 Hidden Man, Jiang Wen 2018 Devils on the Doorstep, Jiang Wen 2001 Platform, dir. Jia Zhangke, 2000 Still Life, dir. Jia Zhangke, 2006 24 City, dir. Jia Zhangke, 2008 A Touch of Sin, dir. Jia Zhangke, 2013 Mountains May Depart, dir. Jia Zhangke, 2015

10 Ash Is Purest White, dir. Jia Zhangke, 2018 Summer Palace, dir. Lou Ye, 2006 Suzhou River, dir. Lou Ye, 2000 Mystery, dir. Lou Ye, 2012 Blind Massage, dir. Lou Ye, 2014 The Shadow Play, dir. Lou Ye, 2018 Saturday Fiction, dir. Lou Ye, 2019 Beijing Bicycle, dir. Wang Xiaoshuai, 2002 So Long My Son, dir. Wang Xiaoshuai, 2018 Lost In Beijing, dir. Li Yu, 2007 Home Video, dir. Yang Lina, 2001 Longing for the rain, dir. Yang Lina, 2013 Hooligan Sparrow, dir. Wang Nanfu, 2016 I Beat the Tiger When I was Young, dir. Xue Jianqiang, 2010 Jiang Hu, dir. Wu Wenguang, 1999 Kun 1: Action, dir. Wu Haohao, 2008 Laomatihua , dir. Ai Weiwei, 2009 Laotou, , dir. Yang Lina, 1999 Our Children, dir. Ai Xiaoming & Hu Jie, 2009 Oxhide I , dir. Liu Jiayin, 2005 Oxhide II, dir. Liu Jiayin, 2010 Petition, dir. Zhao Liang, 2010 Tape, dir. Li Ning, 2010 They Are Not the Only Unhappy Couple, dir. Wang Fen, 2000 Though I am gone, dir. Hu Jie, 2006 Using. dir. Zhou Hao, 2008 The Chinese Major, dir. Zhou Hao, 2015 The Vagina Monologue: Backstage Stores. dir. Ai Xiaoming, 2004

11 GENERAL READING LIST Bao, Hongwei. “Performing gender in Chinese cinema” in Routledge Handbook of East Asian Gender Studies, edited by Edited ByJieyu Liu, Junko Yamashita, 2019 Bao, Hongwei. Queer Eye for Chinese Women: Locating Queer Spaces in Shitou's Film Women 50 Minutes Journal of Contemporary Chinese Art. 6(1), 77-96, 2019 Bao, Hongwei. Queer History, Culture and Activism in China: A Conversation with He Xiaopei Made in China Journal. 4(1), 96-105, 2019 Berry, Chris. and Farquhar, Mary. Cinema and the National: China on Screen. Columbia University Press and Hong Kong University Press, 2006. Berry, Chris. Chinese Films in Focus II. London: British Film Institute, 2008. Berry, Chris. Lu, Xinyu and Rofel, Lisa. (eds), The New Chinese Documentary Film Movement: For the Public Record. Hong Kong: Hong Kong University Press, 2010. Berry, Chris. “The New Gestural Cinema: Yang Fudong and the Gallery Film”, in Film Quarterly, Vol. 67 No. 3, Spring 2014. pp. 17-29. DOI: 10.1525/fq.2014.67.3.17 Berry, Chris. “Pema Tseden and the Tibetan road movie: space and identity beyond the ‘minority nationality film’, in Journal of Chinese Cinemas, 10:2, 89-105, 2016. DOI: 10.1080/17508061.2016.1167334 Berry, Chris. “Transnational Chinese Cinema Studies”, in The Chinese Cinema Book, edited by Song Hwee Lim and Julian Ward, BFI, 2017. Berry, Michael. Speaking in images: interviews with contemporary Chinese filmmakers, New York : Columbia University Press, 2005. Berry, Michael. Jia Zhangke's 'Hometown Trilogy': Xiao Wu, Platform, Unknown Pleasures. Bloomsbury Academic, 2009. Braester, Yomi. “Contemporary Mainstream PRC Cinema”, in The Chinese Cinema Book, edited by Song Hwee Lim and Julian Ward, BFI, 2017. Chiu, Kuei-fen and Zhang, Yingjin. New Chinese-Language Documentaries: Ethics, Subject and Place. Routledge, 2015. Chow, Rey. Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema. Columbia University Press, 1995. Cui, Shuqin. “Chai Jing's Under the Dome: A multimedia documentary in the digital age”, in Journal of Chinese Cinemas, 11:1, 30-45, 2017. DOI: 10.1080/17508061.2016.1269481 Davis, Darrell Williams, and Yeh, Emilie Yueh-yu. East Asian Screen Industries, London: BFI Publishing, 2008. Edwards, Dan, Independent Chinese Documentary: Alternative Visions, Alternative Publics Edinburgh: University of Edinburgh Press, 2015.

12 Elsaesser, Thomas. ‘The Global Author: Control, Creative Constraints and Performative Self Contradiction’ in The Global Auteur: The Politics of Authorship in 21st Century Cinema, Bloomsbury Academic, 2016. Emilie Yueh-yu Yeh & Darrell William Davis. “Re-nationalizing China's film industry: case study on the China Film Group and film marketization”, Journal of Chinese Cinemas, 2:1, 37-51, 2008. DOI: 10.1386/jcc.2.1.37_1 Gladston, Paul. ‘Somewhere (and Nowhere) between Modernity and Tradition: Towards a Critique of International and Indigenous Perspectives on the Significance of Contemporary Chinese Art’, in Tate Papers, no.21, Spring, 2014 Grewal, Anup. Contested Tibetan landscapes in the films of Pema Tseden, Journal of Chinese Cinemas, 10:2,135-149, 2016. DOI: 10.1080/17508061.2016.1167336 Huang, Xuelei, Shanghai Filmmaking: Crossing Borders, Connecting to the Globe, 1922- 1938, Brill: Leiden and Boston, 2014. Larson, Wendy. “The Fifth Generation: A Reassessment” in The Chinese Cinema Book, edited by Song Hwee Lim and Julian Ward, BFI, 2017. Lu, Tonglin. Confronting Modernity in the Cinemas of Taiwan and Mainland China. Cambridge: Cambridge UP, 2002. Lu, Yi. “ The malling of the movies: Film exhibition reforms, multiplexes, and film consumption in the new millennium in urban China”, in Journal of Chinese Cinemas, 10:3, 205-227, 2016. DOI: 10.1080/17508061.2016.1163883 Pickowicz, Paul G. and Zhang, Yingjing (eds.) From Underground to Independent: Alternative Film Culture in Contemporary China, Rowman&Littlefield, 2006. Rosen, Stanley. “Chinese Cinema’s International Market” in Art, Politics, and Commerce in Chinese Cinema, edited by Ying Zhu, Stanley Rosen, Hong Kong University Press, 2010. Rosen, Stanley. “Film and Society in China: The Logic of the Market”, in A Companion to Chinese Cinema, edited by Yingjing Zhang, Wiley-Blackwell, 2012. Silbergeld, Jerome. “Cinema and the Visual Arts of China” in A Companion to Chinese Cinema, edited by Yingjing Zhang, Wiley-Blackwell, 2012. Song Hwee Lim and Julian Ward (eds.) The Chinese Cinema Book, London: British Film Institute, 2011. Sun, Shaoyi. “Chinese-language film or Chinese cinema? Review of an ongoing debate in the Chinese mainland”, in Journal of Chinese Cinemas, 10:1, 61-66, 2016. DOI: 10.1080/17508061.2016.1139803 Victor Fan, “Revisiting Jia Zhangke: Individuality, Subjectivity, and Autonomy in Contemporary Chinese Independent Cinema” in The Global Auteur: The Politics of Authorship in 21st Century Cinema, Bloomsbury Academic, 2016. Yu, Kiki Tianqi, Johnson, Matthew D. Wagner, Keith B. (eds.) China’s iGeneration: Cinema and Moving Image Culture for the Twenty-First Century, Bloomsbury, 2014.

13 Yu, Kiki Tianqi. 'My' Self on Camera: First Person Documentary Practice in an Individualising China, Edinburgh: University of Edinburgh Press, 2019 Yu, Kiki Tianqi. “ ‘Image-Writing’: The Essayistic/Sanwen in Chinese Non-fiction Cinema and Behemoth” in World Cinema and the Essay Film, edited by Brenda Hollweg and Igor Kristic, Edinburgh University Press, 2019. Zhang, Yingjin. Chinese National Cinema. New York and London: Routledge. 2004. Zhang, Yingjin. (ed). A Companion to Chinese Cinema, Wiley-Blackwell, 2012 Zhang, Zhen. An Amorous History of the Silver Screen: Shanghai Cinema 1896-1937, University of Chicago Press, 2005. Zhang, Zhen. The Urban Generation: Chinese Cinema and Society at the Turn of the Twenty- First Century. Duke University Press, 2007. Zhu, Ying. “New Year Film as Chinese Blockbuster: From Feng Xiaogang’s Contemporary Urban Comedy to Zhang Yimou’s Period Drama” in Art, Politics, and Commerce in Chinese Cinema, edited by Ying Zhu, Stanley Rosen, Hong Kong University Press, 2010. Zhu, Ying. and Nakajima, Seio. “The Evolution of Chinese Film as an Industry”, in Art, Politics, and Commerce in Chinese Cinema, edited by Ying Zhu, Stanley Rosen, Hong Kong University Press, 2010. Zito, Angela. and Zhang, Zhen (eds.). DV-Made China: Digital Subjects and Social Transformations after Independent Film. Duke University Press, 2015.