Chinese Film Theory

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This is the first collection of translations of Chinese film theory to be published in English. By using translations rather than summaries, as other works have done, Chinese Film Theory provides readers with an introduction to the issues current in China's film circles. It includes eighteen chapters written by a broad range of writers—from well established scholars to young people at the beginning of their involvement in film in China. This collection indicates a trend away from the study of external qualities of film and toward a study of the film itself.

The volume has been carefully organized so that major issues are interrelated; thus, the book comprises an ongoing debate of film theory issues, progressing from earlier to most recent issues, following the debate concerning the relationship of film to literary arts, and looking at the debate over the relationship of film to culture. The book concludes that for the time being, debate has virtually ended because of the political situation in China. This book is an important new source to anyone interested in film studies, film theory, or Chinese studies.

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Product Details

  • ISBN-13: 9780275931032
  • Publisher: ABC-CLIO, Incorporated
  • Publication date: 5/23/1990
  • Pages: 246
  • Lexile: 1280L (what's this?)
  • Product dimensions: 6.00 (w) x 9.00 (h) x 0.69 (d)

Meet the Author

GEORGE S. SEMSEL is a Fulbright Scholar appointed to the People's Republic of China. He is presently an Associate Professor in the School of Film at Ohio University.

XIA HONG is Deputy Managing Editor of Film Art, a scholarly journal published by the China Film Association.

HOU JIANPING has translated a number of English-language literary and philosophical works into Chinese, and served as a translator at the Beijing headquarters of the China Film Import and Export Corporation.

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Table of Contents

Foreword: Luo Yijun


The Debate on the Theatricality of Film

The Debate on the Literary Quality of Film

The Debate over the New Concept of Film

The Debate on the Nationalization of Film

The Debate on Tradition and Innovation of Film

Chinese Film Theory in the New Era: A Conclusion



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