Felicia Chan is a Lecturer in Screen Studies at the University of Manchester researching the construction of national, cultural and cosmopolitan imaginaries in film. She is also co-editor of Genre in Asian Film and Television: New Approaches (2011), founding member of the Chinese Film Forum UK, and author of the forthcoming Cosmopolitan Cinema.Andy Willis is a Reader in Film Studies at the University of Salford, Senior Visiting Curator at HOME, Manchester and a founder member of the Chinese Film Forum UK. He is co-author of The Cinema of Alex de la Iglesia (2007), editor of Film Stars: Hollywood and Beyond (2004), co-editor of Spanish Popular Cinema (2004) and of East Asian Film Stars (2014).

• Introduction: Chinese Cinemas, International PerspectivesFelicia Chan and Andy WillisPart I: Textual Constructions and Industrial Contexts1. The Deconstruction and Intensification of ‘China’, or Primitive Passions in Man of Tai ChiPaul Bowman2. Internationalising Memory: Traumatic Histories and the PRC’s Quest to Win an OscarA.T. McKenna and Kiki Tianqi Yu3. Once Upon a Time in China and America: Transnational Storytelling and the Recent Films of Peter ChanGary Bettinson4. Mediating Trauma: The Nanjing Massacre, City of Life and Death, and Affect as Soft PowerCorey Kai Nelson SchultzPart II: Shifting Foci: Global and Local Chinese Cinemas 5. The Uncertainty Principle: Reframing Independent Film in Twenty-First Century Chinese CinemaEddie Bertozzi6. Crossing Hennessy, Big Blue Lake and Flowing Stories: re-centring the local in recent Hong Kong Cinema Andy Willis7. Blurred lines? The dialectics of the margins and the mainstream in The Wedding Banquet (Ang Lee, 1993) and Saving Face (Alice Wu, 2004)Juliette LedruPart III: Woman in the Frame8. First, not only: writing Chinese women’s film authorship Felicia Chan9. Women Characters, Women’s Cinema and Neo-Liberal Chinese Modernity: Doubled and SplitChris Berry10. The Grain of Jade: Woman, Repression, and Fei Mu’s Spring in a Small TownRey ChowPart IV: International Perspectives11. Michelangelo Antonioni’s Chung Kuo — Cina (1972): A Moment of ‘Explicitation’Valentina Vitali12. The Melbourne Controversy: Jia Zhangke and the Melbourne International Film Festival 2009Robert Hamilton13. A Chinese Diasporic Festival Film in the Making?: The Interesting Case of Ann Hui’s A Simple LifeRuby Cheung

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Felicia Chan is a Lecturer in Screen Studies at the University of Manchester researching the construction of national, cultural and cosmopolitan imaginaries in film. She is also co-editor of Genre in Asian Film and Television: New Approaches (2011), founding member of the Chinese Film Forum UK, and author of the forthcoming Cosmopolitan Cinema.Andy Willis is a Reader in Film Studies at the University of Salford, Senior Visiting Curator at HOME, Manchester and a founder member of the Chinese Film Forum UK. He is co-author of The Cinema of Alex de la Iglesia (2007), editor of Film Stars: Hollywood and Beyond (2004), co-editor of Spanish Popular Cinema (2004) and of East Asian Film Stars (2014).

• Introduction: Chinese Cinemas, International PerspectivesFelicia Chan and Andy WillisPart I: Textual Constructions and Industrial Contexts1. The Deconstruction and Intensification of ‘China’, or Primitive Passions in Man of Tai ChiPaul Bowman2. Internationalising Memory: Traumatic Histories and the PRC’s Quest to Win an OscarA.T. McKenna and Kiki Tianqi Yu3. Once Upon a Time in China and America: Transnational Storytelling and the Recent Films of Peter ChanGary Bettinson4. Mediating Trauma: The Nanjing Massacre, City of Life and Death, and Affect as Soft PowerCorey Kai Nelson SchultzPart II: Shifting Foci: Global and Local Chinese Cinemas 5. The Uncertainty Principle: Reframing Independent Film in Twenty-First Century Chinese CinemaEddie Bertozzi6. Crossing Hennessy, Big Blue Lake and Flowing Stories: re-centring the local in recent Hong Kong Cinema Andy Willis7. Blurred lines? The dialectics of the margins and the mainstream in The Wedding Banquet (Ang Lee, 1993) and Saving Face (Alice Wu, 2004)Juliette LedruPart III: Woman in the Frame8. First, not only: writing Chinese women’s film authorship Felicia Chan9. Women Characters, Women’s Cinema and Neo-Liberal Chinese Modernity: Doubled and SplitChris Berry10. The Grain of Jade: Woman, Repression, and Fei Mu’s Spring in a Small TownRey ChowPart IV: International Perspectives11. Michelangelo Antonioni’s Chung Kuo — Cina (1972): A Moment of ‘Explicitation’Valentina Vitali12. The Melbourne Controversy: Jia Zhangke and the Melbourne International Film Festival 2009Robert Hamilton13. A Chinese Diasporic Festival Film in the Making?: The Interesting Case of Ann Hui’s A Simple LifeRuby Cheung

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Felicia Chan is a Lecturer in Screen Studies at the University of Manchester researching the construction of national, cultural and cosmopolitan imaginaries in film. She is also co-editor of Genre in Asian Film and Television: New Approaches (2011), founding member of the Chinese Film Forum UK, and author of the forthcoming Cosmopolitan Cinema.Andy Willis is a Reader in Film Studies at the University of Salford, Senior Visiting Curator at HOME, Manchester and a founder member of the Chinese Film Forum UK. He is co-author of The Cinema of Alex de la Iglesia (2007), editor of Film Stars: Hollywood and Beyond (2004), co-editor of Spanish Popular Cinema (2004) and of East Asian Film Stars (2014).

• Introduction: Chinese Cinemas, International PerspectivesFelicia Chan and Andy WillisPart I: Textual Constructions and Industrial Contexts1. The Deconstruction and Intensification of ‘China’, or Primitive Passions in Man of Tai ChiPaul Bowman2. Internationalising Memory: Traumatic Histories and the PRC’s Quest to Win an OscarA.T. McKenna and Kiki Tianqi Yu3. Once Upon a Time in China and America: Transnational Storytelling and the Recent Films of Peter ChanGary Bettinson4. Mediating Trauma: The Nanjing Massacre, City of Life and Death, and Affect as Soft PowerCorey Kai Nelson SchultzPart II: Shifting Foci: Global and Local Chinese Cinemas 5. The Uncertainty Principle: Reframing Independent Film in Twenty-First Century Chinese CinemaEddie Bertozzi6. Crossing Hennessy, Big Blue Lake and Flowing Stories: re-centring the local in recent Hong Kong Cinema Andy Willis7. Blurred lines? The dialectics of the margins and the mainstream in The Wedding Banquet (Ang Lee, 1993) and Saving Face (Alice Wu, 2004)Juliette LedruPart III: Woman in the Frame8. First, not only: writing Chinese women’s film authorship Felicia Chan9. Women Characters, Women’s Cinema and Neo-Liberal Chinese Modernity: Doubled and SplitChris Berry10. The Grain of Jade: Woman, Repression, and Fei Mu’s Spring in a Small TownRey ChowPart IV: International Perspectives11. Michelangelo Antonioni’s Chung Kuo — Cina (1972): A Moment of ‘Explicitation’Valentina Vitali12. The Melbourne Controversy: Jia Zhangke and the Melbourne International Film Festival 2009Robert Hamilton13. A Chinese Diasporic Festival Film in the Making?: The Interesting Case of Ann Hui’s A Simple LifeRuby Cheung

Select Guide Rating