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Wu Yonggang
Gender and the Family in Contemporary Chinese-Language Film Remakes
Art, Politics, and Commerce in Chinese Cinema
Tiff Bell Lightbox Celebrates a Century of Chinese Cinema with Unprecedented Film Series, Exhibitions and Special Guests
Digital Media and Radical Politics in Postsocialist China
Female Subjectivity, Left-Wing Films, and the Representation Of
Remaking Chinese Cinema: Through the Prism of Shanghai, Hong Kong
2. Cinema of Post-Reform China
M. Vr / 6 CHINESE LEFTIST URBAN FILMS of the 1930S THESIS Presented to the Graduate Council of the University of North Texa
UNIVERSITY of CALIFORNIA Los Angeles Shot in Shanghai: Sino
Wang Renmei: the Wildcat of Shanghai Summer He Spent the Entire Vacation Living at the Educator’S Home
La Divine Xu Yi
A Chinese Director and His Transition from Critical Banned
Justice and Law at the (1980) Chinese Movies
"Bamboo Curtain": Chinese Films in Divided Germany Qinna Shen Bryn Mawr College,
[email protected]
Copyright © and Moral Rights for This Phd Thesis Are Retained by the Author And/Or Other Copyright Owners
Wu Yonggang Qu’Elle Était Une « DIVINE Grande Star Féminine Du Cinéma Pellicule Très Sensible »
Desire, Anxiety, and the Politics of Chinese
Hollywood and the Chinese Film Market: Crosscultural Communication Or Commercial Transaction?
Top View
Heritage and Integration- a Study of Hong Kong Cantonese Opera Films
Movie Justice: the Legal System in Pre-1949 Chinese Film Alison W
American Films in China's Largest Metropolis, 1920-1950
Chapter 1 the Warrior Hero
Chinese Cinema Semester 1,2010
ENCYCLOPEDIA of CHINESE FILM In'>1 S
A Window to Our Times China's Independent Film Since the Late
Three Actresses of the Lianhua Film Company Anne Kerlan
The Goddess/Shen Nu 1934