Fo Jiao Yi Shu She Ying Zhan Lan

In Utopian Ruins Jie Li traces the creation, preservation, and elision of memories about China's Mao era by envisioning a virtual museum that reckons with both its utopian yearnings and its cataclysmic reverberations. Li proposes a critical framework for understanding the documentation and transmission of the socialist past that mediates between nostalgia and trauma, anticipation and retrospection, propaganda and testimony. Assembling each chapter like a memorial exhibit, Li explores how corporeal traces, archival documents, camera images, and material relics serve as commemorative media. Prison writings and police files reveal the infrastructure of state surveillance and testify to revolutionary ideals and violence, victimhood and complicity. Photojournalism from the Great Leap Forward and documentaries from the Cultural Revolution promoted faith in communist miracles while excluding darker realities, whereas Mao memorabilia collections, factory ruins, and memorials at trauma sites remind audiences of the Chinese Revolution's unrealized dreams and staggering losses.

The Authorship of Place is the first monograph dedicated to the study of the politics, history, aesthetics, and practices of location shooting for Taiwanese, Mainland Chinese, and coproduced art cinemas shot in rural communities since the late 1970s. Dennis Lo argues that rural location shooting, beyond serving aesthetic and technical needs, constitutes practices of cultural survival in a region beset with disruptive and disorienting social changes, including rapid urbanization, geopolitical shifts, and ecological crises. In response to these social changes, auteurs like Hou Xiaoxian, Jia Zhangke, Chen Kaige, and Li Xing engaged in location shooting to transform sites of film production into symbolically meaningful places of collective memories and aspirations. These production practices ultimately enabled auteurs to experiment with imagining Taiwanese, Mainland Chinese, and cross-strait communities in novel and contentious ways. Deftly guiding readers on a cross-strait tour of prominent shooting locations for the New Chinese Cinemas, this book shows how auteurs sought out their disappearing cultural heritage by reenacting lived experiences of nation building, homecoming, and cultural salvage while shooting on-location. This was an especially daunting task when auteurs encountered the shooting locations as spaces of unresolved historical, social, and geopolitical contestations, tensions which were only intensified by the impact of filmmaking on rural communities. This book demonstrates how these complex circumstances surrounding location shooting were pivotal in shaping both representations of the rural on-screen, as well as the production communities, institutions, and industries off-screen. Informed by cutting-edge perspectives in cultural geography and media anthropology, The Authorship of Place both revises Chinese-language film history and theorizes groundbreaking approaches for investigating the cultural politics of film authorship and production. “This extraordinary book discusses the uses of location shooting in films by contemporary Taiwanese and Mainland Chinese directors ranging from Li Xing to Jia Zhangke. It highlights the ways in which place, memory, and identity stances respond to social changes and geopolitical disparities. In a world full of uncertainty, the argument about the imaginary homeland as an experienced cinematic reality only renders it more urgent and universally relatable.” —Ping-hui Liao, University of California, San Diego “The Authorship of Place is certainly a welcome intervention into the study of Chinese cinemas and their auteurs that further contributes to the wider study of location shooting as well as cultural geographies and place-based imaginaries of film. It is rare to find a book dealing with space/place in and around cinema that is this inventive and nuanced in its methodologies.” —Stephanie DeBoer, Indiana University

A first look at gunpowder's revolutionary impact on China's role in global history The Chinese invented gunpowder and began exploring its military uses as early as the 900s, four centuries before the technology passed to the West. But by the early 1800s, China had fallen so far behind the West in gunpowder warfare that it was easily defeated by Britain in the Opium War of 1839–42. What happened? In The Gunpowder Age, Tonio Andrade offers a compelling new answer, opening a fresh perspective on a key question of world history: why did the countries of western Europe surge to global importance starting in the 1500s while China slipped behind? Historians have long argued that gunpowder weapons helped Europeans establish global hegemony. Yet the inhabitants of what is today China not only invented guns and bombs but also, as Andrade shows, continued to innovate in gunpowder technology through the early 1700s—much longer than previously thought. Why, then, did China become so vulnerable? Andrade argues that one significant reason is that it was out of practice fighting wars, having enjoyed nearly a century of relative peace, since 1760. Indeed, he demonstrates that China—like Europe—was a powerful military innovator, particularly during times of great warfare, such as the violent century starting after the Opium War, when the Chinese once again quickly modernized their forces. Today, China is simply returning to its old position as one of the world's great military powers. By showing that China’s military dynamism was deeper, longer lasting, and more quickly recovered than previously understood, The Gunpowder Age challenges long-standing explanations of the so-called Great Divergence between the West and Asia.

Compiled by two skilled librarians and a Taiwanese film and culture specialist, this volume is the first multilingual and most comprehensive bibliography of Taiwanese film scholarship, designed to satisfy the broad interests of the modern researcher. The second book in a remarkable three-volume research project, An Annotated Bibliography for Taiwan Film Studies catalogues the published and unpublished monographs, theses, manuscripts, and conference proceedings of Taiwanese film scholars from the 1950s to 2013. Paired with An Annotated Bibliography for Chinese Film Studies (2004), which accounts for texts dating back to the 1920s, this series brings together like no other reference the disparate voices of Chinese film scholarship, charting its unique intellectual arc. Organized intuitively, the volume begins with reference materials (bibliographies, cinematographies, directories, indexes, dictionaries, and handbooks) and then moves through film history (the colonial period, Taiwan dialect film, new Taiwan cinema, the 2/28 incident); film genres (animated, anticommunist, documentary, ethnographic, martial arts, teen); film reviews; film theory and technique; interdisciplinary studies (Taiwan and mainland China, Taiwan and Japan, film and aboriginal peoples, film and literature, film and nationality); biographical materials; film stories, screenplays, and scripts; film technology; and miscellaneous aspects of Taiwanese film scholarship (artifacts, acts of censorship, copyright law, distribution channels, film festivals, and industry practice). Works written in multiple languages include transliteration/romanized and original script entries, which follow universal AACR-2 and American cataloguing standards, and professional notations by the editors to aid in the use of sources.

Drawing mainly on advertisements and comics in Chinese newspapers, Singaporean scholar and educator Yeo Mang Thong demonstrates how Singapore was an important hub for artists who travelled to and lived in Singapore. Yeo’s research features amongst other things essays on sojourning artists, and fills a gap in scholarship on the pre-war visual arts scene in Singapore. Originally in Chinese, this English translation aims to bring his research to a broader audience.

This book sets out to analyze how the OBOR initiative will influence the world’s geo-political and geo-economic environment, with specific regard to the ‘Belt and Road’ countries and regions. It evaluates what opportunities the OBOR can offer them in light of the constraints they face, paying particular attention to how security issues may keep some nations from fully participating. Questions are also asked about the tension and conflict along the ‘Belt’ and ‘Road’, which, after all takes in the Middle East’s most tumultuous regions, as well as the much disputed South China Sea. Finally, consideration is given as to how the world’s other economic powers will react when the OBOR inevitably brings about capital and resource competitions.

Feminist contentions in socialist state formation: a case study of the Shanghai Women's Federation -- The political perils in 1957: struggles over "women's liberation"--Creating a socialist feminist cultural front: women of China -- When a Maoist "class" intersected gender -- Chen Bo'er and the feminist paradigm of socialist film -- Fashioning socialist visual culture: Xia Yan and the new culture heritage -- The cultural origins of the Cultural Revolution -- The Iron Girls: gender and class in cultural representations -- Conclusion: socialist state feminism and its legacies in capitalist China