Chinese Films in Focus II
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Product details:
- Edition number 2, Revised
- Publisher British Film Institute
- Date of Publication 25 November 2008
- Number of Volumes Paperback
- ISBN 9781844572373
- Binding Paperback
- No. of pages304 pages
- Size 232x172x28 mm
- Weight 620 g
- Language English 0
Categories
Short description:
Chinese cinema continues to go from strength to strength. After art-house hits like Chen Kaige's Yellow Earth (1984) and Wong Kar-wai's In the Mood for Love (2000), the Oscar-winning success of Ang Lee's Crouching Tiger Hidden Dragon (2000) disproved the old myth that subtitled films could not succeed at the multiplex. Chinese Films in Focus II updates and expands the original Chinese Films in Focus: 25 New Takes with fourteen brand new essays, to offer thirty-four fresh and insightful readings of key individual films. The new edition addresses films from mainland China, Taiwan, Hong Kong and other parts of the Chinese diaspora and the historical coverage ranges from the 1930s to the present.
The essays, by leading authorities on Chinese cinema as well as up-and-coming scholars, are concise, accessible, rich, and on the cutting edge of current research. Each contributor outlines existing writing and presents an original perspective on the film, making this volume a rich resource for classroom use, scholarly research and general reading for anyone wanting to understand more about the historical development and rich variety of Chinese cinema.
Contributors: Annette Aw, Chris Berry, Yomi Braester, Felicia Chan, Esther Cheung, Robert Chi, Rey Chow, Mary Farquhar, Carolyn FitzGerald, Ping Fu, Kristine Harris, Margaret Hillenbrand, Brian Hu, Tan See Kam, Haiyan Lee, Vivian Lee, Helen Hok-Sze Leung, David Leiwei Li, Song Hwee Lim, Kam Louie, Fran Martin, Jason McGrath, Corrado Neri, Jonathan Noble, Beremoce Reynaud, Cui Shuqin, Julian Stringer, Janice Tong, Yiman Wang, Faye Hui Xiao, Gang Gary Xu, Audrey Yue, Yingjin Zhang, John Zou
The Editor: Chris Berry is Professor of Film and Television at Goldsmiths, University of London.
Long description:
Chinese cinema continues to go from strength to strength. After art-house hits like Chen Kaige's Yellow Earth (1984) and Wong Kar-wai's In the Mood for Love (2000), the Oscar-winning success of Ang Lee's Crouching Tiger Hidden Dragon (2000) disproved the old myth that subtitled films could not succeed at the multiplex. Chinese Films in Focus II updates and expands the original Chinese Films in Focus: 25 New Takes with fourteen brand new essays, to offer thirty-four fresh and insightful readings of key individual films. The new edition addresses films from mainland China, Taiwan, Hong Kong and other parts of the Chinese diaspora and the historical coverage ranges from the 1930s to the present.
The essays, by leading authorities on Chinese cinema as well as up-and-coming scholars, are concise, accessible, rich, and on the cutting edge of current research. Each contributor outlines existing writing and presents an original perspective on the film, making this volume a rich resource for classroom use, scholarly research and general reading for anyone wanting to understand more about the historical development and rich variety of Chinese cinema.
Contributors: Annette Aw, Chris Berry, Yomi Braester, Felicia Chan, Esther Cheung, Robert Chi, Rey Chow, Mary Farquhar, Carolyn FitzGerald, Ping Fu, Kristine Harris, Margaret Hillenbrand, Brian Hu, Tan See Kam, Haiyan Lee, Vivian Lee, Helen Hok-Sze Leung, David Leiwei Li, Song Hwee Lim, Kam Louie, Fran Martin, Jason McGrath, Corrado Neri, Jonathan Noble, Beremoce Reynaud, Cui Shuqin, Julian Stringer, Janice Tong, Yiman Wang, Faye Hui Xiao, Gang Gary Xu, Audrey Yue, Yingjin Zhang, John Zou
The Editor: Chris Berry is Professor of Film and Television at Goldsmiths, University of London.
Table of Contents:
Introduction: One Film at a Time; C. Berry.- 15: Deciphering the Local and 'Slanging Up' to the Global; S. Hwee Lim.- Big Shot's Funeral: Performing a Postmodern Cinema of Attractions; Y. Zhang.- Black Cannon Incident: Countering the Counterespionage Fantasy; J. McGrath.- Blind Shaft: Underground as Trope; J. Noble.- Boat People: Second Thoughts on Text and Context; J. Stringer.- Centre Stage: A Shadow in Reverse; B. Reynaud.- A Chinese Ghost Story: Ghostly Counsel and Innocent Man; J. Zou.- Chungking Express: Time and its Displacements; J. Tong.- Crouching Tiger, Hidden Dragon: Cultural Migrancy and Translatability; F. Chan.- Crows and Sparrows: Allegory on a Historical Threshold; Y. Wang.- Durian, Durian: Defamiliarisation of the 'Real'; E. Cheung.- Ermo: (Tele)Visualizing Urban/Rural Transformation; P. Fu.- Farewell My Concubine: National Myth and City Memories; Y. Braester.- Flowers of Shanghai: Visualizing Ellipses and (Colonial) Absence; G. Gary Xu.- Formula 17: Mainstream in the Margins; B. Hu.- The Goddess: Fallen Woman of Shanghai; K. Harris.- Hero: The Return of a Traditional Masculine Ideal in China; K. Louie.- In The Mood for Love: Intersections of Hong Kong Modernity; A. Yue.- Kekexili: Mountain Patrol-Moral Dilemma and a Man with a Camera; S. Cui.- Love Eterne: Almost a (Heterosexual) Love Story; T. See Kam and A. Aw.- Not One Less: The Fable of a Migration; R. Chow.- The Personals: Backward Glances, Knowing Looks, and the Voyeur Film; M. Hillenbrand.- PTU: Re-mapping the Cosmopolitan Crime Zone; V. Lee.- The Red Detachment of Women: Resenting, Regendering, Remembering; R. Chi.- Riding Alone for Thousands of Miles: Redeeming the Father by Way of Japan; F. Hui Xiao.- Spring in a Small Town: Gazing at Ruins; C. FitzGerald.- Suzhou River: Visual Fetishism and the Defamiliarisation of Shanghai; A. C.Y. Huang.- A Time to Live, A Time to Die: A Time to Grow; C. Neri.- A Touch of Zen: Action in Martial Arts Movies; M. Farquhar.- Vive L'Amour: Eloquent Emptiness; F. Martin.- Wedding Banquet: A Family Affair; C. Berry.- Woman, Demon, Human: The Spectral Journey Home; H. Lee.- Xiao Wu: Watching Time Go By; C. Berry.- Yellow Earth: Hesitant Apprenticeship and Bitter Agency; H. Hok-Sze Leung.- Yi Yi: Reflections on Reflexive Modernity in Taiwan; D. Leiwei Li.
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