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  1. Women through the lens
    gender and nation in a century of Chinese cinema
    Autor*in: Cui, Shuqin
    Erschienen: c2003
    Verlag:  University of Hawaiì Press, Honolulu

    Standort:
    Ruhr-Universität Bochum, Fakultät für Philologie, Institut für Medienwissenschaft, Bibliothek
    Signatur:
    Ci II/3/RC13
    Fernleihe:
    keine Fernleihe

    Standort:
    Gemeinsame Fachbibliothek Asien / China
    Signatur:
    CHIN/791.437-48
    Fernleihe:
    keine Fernleihe
    Standort:
    Universitäts- und Stadtbibliothek Köln, Hauptabteilung
    Signatur:
    28A3496
    Fernleihe:
    Ausleihe von Bänden möglich, keine Kopien

    Standort:
    Universitätsbibliothek Trier
    Signatur:
    EGK/od27056
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Sprache: Englisch; Chinesisch
    Medientyp: Buch (Monographie)
    ISBN: 0824825322
    Schlagworte: Motion pictures / China / History; Women in motion pictures; Sex role in motion pictures; Film; Frau <Motiv>; Nationalbewusstsein; Feminismus
    Umfang: xxvi, 304 Seiten, Illustrationen, 23 cm
    Bemerkung(en):

    Includes bibliographical references (p. [287]-297) and index

    Publisher description: Women through the Lens raises the question of how gender, especially the image of woman, acts as a visual and discursive sign in the creation of the nation-state in twentieth-century China. Tracing the history of Chinese cinema through the last hundred years from the perspective of transnational feminism, Shuqin Cui reveals how women have been granted a "privileged visibility" on screen while being denied discursive positions as subjects. In addition, her careful attention to the visual language system of cinema shows how "woman" has served as the site for the narration of nation in the context of China's changing social and political climate. Placing gender and nation in a historical framework, the book first shows how early productions had their roots in shadow plays, a popular form of public entertainment. In examining the "Red Classics" of socialist cinema as a mass cultural form, the book shows how the utopian vision of emancipating the entire proletariat, women included, produced a collective ideology that declared an end to gender difference. Cui then documents and discusses the cinematic spectacle of woman as essential to such widely popular films as Chen Kaige's "Farewell My Concubine" and Zhang Yimou's "Ju Do." Finally, the author brings a feminist perspective to the issues of gender and nation by turning her attention to women directors and their self-representations.

    Inhalt: Acknowledgments -- Introduction -- Pt. 1. Early Production -- 1. From Shadow-Play to a National Cinema (S. 3) -- 2. Reconstructing History: The (Im)possible Engagement between Feminism and Postmodernism in Stanley Kwan's Center Stage (S. 30) -- Pt. 2. Socialist Cinema -- 3. Constructing and Consuming the Revolutionary Narratives (S. 51) -- 4. Gender Politics and Socialist Discourse in Xie Jin's The Red Detachment of Women (S. 79) -- Pt. 3. The New Wave -- 5. Screening China: National Allegories and International Receptions (S. 99) -- 6. The Search for Male Masculinity and Sexuality in Zhang Yimou's Ju Dou (S. 127) -- 7. Subjected Body and Gendered Identity: Female Impersonation in Chen Kaige's Farewell My Concubine (S. 150) -- Pt. 4. Women's Films -- 8. Feminism with Chinese Characteristics? (S. 171) -- 9. Desire in Difference: Female Voice and Point of View in Hu Mei's Army Nurse (S. 200) -- 10. Transgender Masquerading in Huang Shuqin's Human, Woman, Demon (S. 219) -- Postscript (S. 239) -- Filmography (S. 249) -- Notes (S. 269) -- Works Cited (S. 287) -- Index (S. 299).
  2. Women through the lens
    gender and nation in a century of Chinese cinema
    Autor*in: Cui, Shuqin
    Erschienen: c2003
    Verlag:  University of Hawaiì Press, Honolulu

    Standort:
    Ruhr-Universität Bochum, Universitätsbibliothek
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Universitäts- und Stadtbibliothek Köln, Hauptabteilung
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe

    Standort:
    Universitätsbibliothek Trier
    Fernleihe:
    uneingeschränkte Fernleihe, Kopie und Ausleihe
    Export in Literaturverwaltung   RIS-Format
      BibTeX-Format
    Hinweise zum Inhalt
    Quelle: Verbundkataloge
    Sprache: Englisch; Chinesisch
    Medientyp: Buch (Monographie)
    Format: Druck
    ISBN: 0824825322
    Schlagworte: Motion pictures / China / History; Women in motion pictures; Sex role in motion pictures
    Umfang: xxvi, 304 Seiten, Illustrationen, 23 cm
    Bemerkung(en):

    Includes bibliographical references (p. [287]-297) and index

    Publisher description: Women through the Lens raises the question of how gender, especially the image of woman, acts as a visual and discursive sign in the creation of the nation-state in twentieth-century China. Tracing the history of Chinese cinema through the last hundred years from the perspective of transnational feminism, Shuqin Cui reveals how women have been granted a "privileged visibility" on screen while being denied discursive positions as subjects. In addition, her careful attention to the visual language system of cinema shows how "woman" has served as the site for the narration of nation in the context of China's changing social and political climate. Placing gender and nation in a historical framework, the book first shows how early productions had their roots in shadow plays, a popular form of public entertainment. In examining the "Red Classics" of socialist cinema as a mass cultural form, the book shows how the utopian vision of emancipating the entire proletariat, women included, produced a collective ideology that declared an end to gender difference. Cui then documents and discusses the cinematic spectacle of woman as essential to such widely popular films as Chen Kaige's "Farewell My Concubine" and Zhang Yimou's "Ju Do." Finally, the author brings a feminist perspective to the issues of gender and nation by turning her attention to women directors and their self-representations

    Inhalt: Acknowledgments -- Introduction -- Pt. 1. Early Production -- 1. From Shadow-Play to a National Cinema (S. 3) -- 2. Reconstructing History: The (Im)possible Engagement between Feminism and Postmodernism in Stanley Kwan's Center Stage (S. 30) -- Pt. 2. Socialist Cinema -- 3. Constructing and Consuming the Revolutionary Narratives (S. 51) -- 4. Gender Politics and Socialist Discourse in Xie Jin's The Red Detachment of Women (S. 79) -- Pt. 3. The New Wave -- 5. Screening China: National Allegories and International Receptions (S. 99) -- 6. The Search for Male Masculinity and Sexuality in Zhang Yimou's Ju Dou (S. 127) -- 7. Subjected Body and Gendered Identity: Female Impersonation in Chen Kaige's Farewell My Concubine (S. 150) -- Pt. 4. Women's Films -- 8. Feminism with Chinese Characteristics? (S. 171) -- 9. Desire in Difference: Female Voice and Point of View in Hu Mei's Army Nurse (S. 200) -- 10. Transgender Masquerading in Huang Shuqin's Human, Woman, Demon (S. 219) -- Postscript (S. 239) -- Filmography (S. 249) -- Notes (S. 269) -- Works Cited (S. 287) -- Index (S. 299)