Citing China

Citing China explores the role film plays in creating a common ground for the exchange of political and aesthetic ideas between China and the rest of the world. It does so by examining the depiction of China in contemporary film, looking at how global filmmakers “cite” China on screen. Author Gina Marchetti’s aim is not to point to how China continues to function as a metaphor or allusion that has little to do with the geopolitical actualities of contemporary China. Rather, she highlights China’s position within global film culture, examining how cinematic quotations link current films to past political movements and unresolved social issues in a continuing multidirectional conversation. Marchetti covers a wide range of cinematic encounters across the China-West divide. She looks closely at specific movements in world film history and at key films that have influenced the way “China” is depicted in global cinema today, from popular entertainment to international art cinema, the DV revolution, video activism, and the emergence of “festival films.” Marchetti first considers contemporary Chinese-language cinema (Edward Yang, Hou Hsiao-Hsien); she then turns to Italian Neorealism and its importance to the Chinese Sixth Generation (Jia Zhangke) and the French New Wave’s ripple effect on filmmakers associated with the Hong Kong New Wave and Taiwan New Cinema (Ann Hui, Evans Chan). As the People’s Republic of China has gained increased global economic clout, filmmakers draw on Euro-American formulae (Bruce Lee, Clara Law) to attract new viewers and define cinematic pleasures for new audiences on the other side of the earth. The book concludes with a consideration of the role film festivals, women filmmakers, and emerging audiences play in the new world of global cinema. Citing China offers a framework for examining cinematic influence as a dynamic and multidirectional process. It is carefully researched, theoretically sophisticated, and animated by detailed and historically nuanced studies of individual films, making clear just how much a part of global film culture today’s China is. The book makes important contributions to debates in transnational film studies, postmodern versus modernist aesthetics and politics, and Asian as well as European art cinema.

As China and the U.S. increasingly compete for power in key areas of U.S. influence, great power conflict looms. Yet few studies have looked to the Middle East and Africa, regions of major political, economic, and military importance for both China and the U.S., to theorize how China competes in a changing world system. China's Rise in the Global South examines China's behavior as a rising power in two key Global South regions, the Middle East and sub-Saharan Africa. Dawn C. Murphy, drawing on extensive fieldwork and hundreds of interviews, compares and analyzes thirty years of China's interactions with these regions across a range of functional areas: political, economic, foreign aid, and military. From the Belt and Road initiative to the founding of new cooperation forums and special envoys, China's Rise in the Global South offers an in-depth look at China's foreign policy approach to the countries it considers its partners in South-South cooperation. Intervening in the emerging debate between liberals and realists about China's future as a great power, Murphy contends that China is constructing an alternate international order to interact with these regions, and this book provides policymakers and scholars of international relations with the tools to analyze it.

This book traces the evolving uses of writing to command assent and obedience in early China, an evolution that culminated in the establishment of a textual canon as the foundation of imperial authority. Its central theme is the emergence of this body of writings as the textual double of the state, and of the text-based sage as the double of the ruler. The book examines the full range of writings employed in early China, such as divinatory records, written communications with ancestors, government documents, the collective writings of philosophical and textual traditions, speeches attributed to historical figures, chronicles, verse anthologies, commentaries, and encyclopedic compendia. Lewis shows how these writings served to administer populations, control officials, form new social groups, invent new models of authority, and create an artificial language whose master generated power and whose graphs became potent objects.

Maria Repnikova offers an innovative analysis of the media oversight role in China by examining how a volatile partnership is sustained between critical journalists and the state.

Explores the impact of post-Mao reforms on the economic, social and cultural dimensions of China's cities.