This is a bibliography of Chinese language film history studies published in 2008. No claim is made for its being complete, and if further publications from that year are found later, this list will be updated. Titles of books and articles have been translated into English, and abstracts are provided for those I have been able to examine personally. In addition to their Chinese titles, most Chinese film journals and magazines carry an English title, and that is what is used here. Page numbers are given for articles I have actually examined while those lacking page numbers were taken from other bibliographic sources.
Books:
Feng, Qun. The Godfather of Chinese Movies: a biography of Zhang Yimou. Beijing: China Radio and TV Press, 2008. ISBN 978-7-50435-629-1.
Hong, Fangyi. Songstress at the Ends of the Earth: Zhou Xuan and her songs. Taibei: Xiuwen: Information Technology Co., 2008. ISBN 978-9-86673-870-3.
Hou, Xiaosan. Movie Memories. Beijing: Bindings Bookstore, 2008. ISBN 9787801068071.
----The author, a prolific writer on Chinese theater history and lore, is also a lifelong film buff though not an expert. This is a compilation of his many articles on film published over the last 50 years.
Huang, Xiaoyang. The Chinese Image: a biography of Zhang Yimou. Beijing: China Press, 2008. ISBN 7508048703.
Liu, Shu. Pictorial Biography of Hu Die. Beijing: Literary History Press, 2008. ISBN 7-50342-028-6.
_______. Pictorial Biography of Jin Yan and Qin Yi. Beijing: Literary History Press, 2008. ISBN 978-7-50342-029-0.
Mo, Mo. Biography of Zhang Yimou. Beijing: China Radio and Television Press, 2008. ISBN 978-7-5043-5629-1.
Qin, Xiqing. European and American Films and Early Chinese Films (1920-1930). Beijing: China Film Press, 2008.
Qin, Yi and Liu Shu. Pictorial Biography of an Eternal Beauty: Qin Yi. Beijing: Literary History Press, 2008.
--Memories and photos from the personal collection of the 1940s-50s star (1922- ), widow of matinee idol Jin Yan.
Shen, Ji. Shanghai Movies. (Shanghai Culture Series). Shanghai: Wenhui Press, 2008. ISBN 9787807413721.
--Overview history of movies made in Shanghai (which means most of the pre-1950 Chinese output). Instead of the usual chronological arrangement, the several chapters deal with comedy, drama, martial arts, musicals, war movies, etc., although one notable omission is crime and detective films, a popular genre in China from the early 1920s through the 1940s. The author is a native of Shanghai, and a long time screenwriter for studios in Shanghai and Hong Kong.
Yip, Tim. Red Cliff Film Art Notes. Beijing: Contemporary Press, 2008.
--The noted production designer relates the painstaking process that went into design for the 2008 epic 《Red Cliff》, from the earliest phase through to the end, and how he immersed himself day and night in researching China's Three Kingdoms period for the highest degree of historical accuracy, as well as closely relating the film's characters to their real-life historical counterparts.
Zhao, Shihui. In Search of Old Movie Stars. Shanghai: Xuelin Press, 2008. ISBN 9787807304913.
--Collected articles profiling classic era Chinese movie stars, published between 1981-2006 by a prolific author of popular film histories.
Zhu Jie. Chinese Motion Pictures Since the 1990s. Beijing: China Film Press, 2008.
Articles:
Chen, Gang (Dept. of Literature, Beijing Film Academy). "Lu Jie: early Chinese cinema's 'Jack of all trades'" Film Art, No.4, 2008.
【Abstract】Researchers on Chinese film history usually focus heavily on those who actually made the movies, with a lack of attention given to those involved in the industry, but away from the set (e.g., movie magazine editors, producers, etc.) The writer traces the contributions and influences of Lu Jie 陆洁 (1894-1967), a "Jack of all trades" who was a major movie figure over a 40-year career.
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Chen, Lili (Dept. of Literature, Guangxi Normal University). "On feminine conciousness in 'Crouching Tiger, Hidden Dragon'." Movie Review No.6, 2008, p.34.
【Abstract】The movie's focus on female role models is a relative departure from traditional swordsman films, and its narrative depiction of the maturation of Yu Jiaolong [Zhang Ziyi] views a female character from a uniquely female visual angle. But while 《Crouching Tiger, Hidden Dragon》is filled with female consciousness, it is not a woman's film in the traditional sense.
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Chen, Mo. (China Film Art Research Center). "Family, nation, time and people in Zhu Shilin's early films." Contemporary Cinema No.5, 2008, pp.73-78.
【Abstract】The early films of Zhu Shilin (1899-1967) are analyzed and discussed from the standpoint of four separate dimensions: family, nation, time and people. Never trendy, and even less radical, Zhu's films seemed to belong to an earlier time, but their deep cultural value amply displayed their director's talent. As major representatives of the "humanistic film," the greatest shortcoming of Zhu's productions lay in their insufficient stress on human nature or the beauty of the human image.
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________. "The Life and Movies of Sun Shiyi." Contemporary Cinema No.10, 2008, pp.30-36.
【Abstract】Sun Shiyi (1904-1966) was one of the most versatile and multitalented men of his time. While usually categorized in cinema references as a writer and composer, Sun was also a film theorist, editor, director and planner, and was known in publishing as a translator, editor, publisher, journalist, educator and entrepreneur. Outside of the movie and publishing communities, he was a revolutionary, an undercover CCP member and activist, and a high-ranking special agent. This article concentrates on his movie career.
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Chen, Shan (Lecturer and doctoral candidate, Beijing Film Academy). "Theoretical foundation of Chinese films in the silent era". Film Art No.2 (2008), pp.102-109.
【Abstract】 The 1920s saw the emergence of the first generation of Chinese movie theorists, who went beyond acquiring a grasp of Western movie thought and imported cultural materials, and worked together to build a firm theoretical foundation for China's motion picture development. In addition to these Western influences on China's early filmmakers, some trailblazing Chinese monographic and periodical publications are discussed, notably the writings of Hong Shen, the father of Chinese screenwriting and China's first Western-educated filmmaker.
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_______. "The Structure of Film Historiography: historical study of Zhongguo Dianying Fazhan Shi." Film Art No.6 (2008), pp.101-109.
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Cui, Yi. "Movie images of three major Chinese cities" Popular Cinema No.12 (2008), pp.48-51.
【Abstract】 Examines the role played by Chinese movies in molding the public's images of Beijing, Shanghai and Hong Kong.
Ding, Yaping (Institute of Motion Picture and Television Arts, China Academy of Arts) and Zhao Zhangjun (Film and TV Institute, China Communications University). "Significance and course of Xia Yunhu at the 'Kunlun' studio". Film Art No.4 (2008).
【Abstract】 A review of the career of Xia Yunhu 夏云瑚 (1903-1968), who became a motion picture studio executive from a successful background in industrial management. In an environment initially dominated by artists, Xia is credited with bringing a stabilizing business sensibility to China's developing movie industry, notably in the areas of distribution and exhibition. He also founded the Kunlun studio after World War II.
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____________. "The films, the spirit and the social life of Hong Shen." Contemporary Cinema No.6, 2008, pp.33-41.
【Abstract】The film activities and experiences of Hong Shen (1894-1955) are part of the spiritual legacy of Chinese cinema. His ideas on film education, and their relevance to the society of the early years of the Republic of China, reflected the value awareness and demands on film that were widespread at the time. Hong's early screenwriting showed a distinctly subjective tendency, his films endued with a dynamic cultural identity and rich cultural content. Hong Shen's spirit, thought and writings on film provided a jump start for China's cinema development.
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Dong, Chunfeng. "A sky obscured by men: the death of Ruan Lingyu from a feminist viewpoint." Movie Literature No.7 (2008), pp.83-84.
【Abstract】Ruan Lingyu was an important part of movie history, and the reasons behind her suicide have been a continual topic worth exploring. From the feminist perspective, sifting through and analyzing the historical record and Stanley Kwan's film 《阮玲玉》 , and her conflicting relationships with three men, leads to a deeper significance of what caused her to take her own life. Ruan's suicide was not due only to "words can kill" but of more importance was the control of women in a male-ruled society, her inner despair concerning the men in her world and her own lack of self-awareness.
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Fang Jingdong. "The soul of Ba Jin." Popular Cinema No.1, 2007, p.43.
【Abstract】Discusses film adaptations of Ba Jin's literary works, noting the famous author steadily declined to involve himself with these adaptations.
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Fang Xiaofeng (College of Humanities, Beijing Language And Culture University). "History is no laughing matter – an artistic flaw in mainland Chinese war films" Journal of Chaohu College No.1, 2008, pp.62-65.
【Abstract】 When fully utilized, motion pictures with the theme of war on the Chinese mainland can serve to boost morale, inspire patriotism, unify the people, and help people associate themselves with China's history. But how that history is presented can be problematic. This paper makes a detailed analysis of commercial war films.
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Feng, Jian (Dongshan Normal Institute). "On the development of mainland Chinese movie music in the 1980s" Movie Review No.24 (2008).
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Feng, Qun (Dept. of Chinese Literature, Wuyi University, Guangdong). "Li Dandan: star of silver screen and blue sky." Movie Literature No.19 (2008), pp.124-126.
【Abstract】In the 1920s, Li Dandan was one of the brightest young stars of Shanghai's early film industry. After making a string of successful films, at the zenith of her popularity, she ended her movie career for marriage to a diplomat. In Europe, she learned to fly and eventually became a famous pioneer aviator and tireless fund raiser for Chinese war relief, giving numerous flight exhibitions in China and other countries. Hers was a legendary chapter in Chinese film history and aviation history.
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________. "Li Minwei: early developer of Chinese film." Journal of Beijing Film Academy No.2, 2008, pp.30-35.
【Abstract】In the 1920s, a wholly silent era for Chinese film, Li Minwei (1892-1953) was eager to make literary films. In addition to being an idealistic and romantic revolutionary, he was an important pioneer of Chinese silents. Li raised high the banner of "films to save the nation," and on a spiritual level was very conscious of the ideals of the May 4th cultural movement, blazing new trails at a time when a stagnant atmosphere still prevailed in film circles. Li Minwei's literary films have still not lost their significance for today's Chinese films.
________. "Luo Mingyou and the Lianhua film studio." Contemporary Cinema No.1, 2008, pp.49-53.
【Abstract】One figure from early Chinese film history who should not be forgotten is Luo Mingyou. He established the Lianhua (United Photoplay Service) studio on the Shanghai Bund in the 1930s, and developed into a mythical figure of Chinese cinema's golden age. Although the Japanese invasion led to Lianhua's bankruptcy, Luo Mingyou's contributions to early Chinese film deserve to be remembered forever.
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Gong, Jinping (Fudan University Center for Arts Education). "Chinese sports feature films in the new era". Contemporary Cinema No.8 (2008), pp.54-56.
【Summary】Overview of Chinese sports features post-Cultural Revolution, and especially since 1980.
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Gong, Yan (Beijing Film Academy) and Yang, Ling (Beijing Institute of Electrical Technology). "Four individual paths in two cities: Zhu Shilin, Li Lihua, Liu Qiong, Shu Shi, and Hong Kong-Shanghai Films, 1948-1952." Journal of Beijing Film Academy No.2, 2008.
【Abstract】The period 1949-52 has been called an era of "flourishing exchange" between Hong Kong and Shanghai, but after this many Chinese were faced with the "choice to stay or go", and following this the two cities went into a cultural "twin cities" situation. Moreover, the choices made by those in the film community doubtless made the final difference in the future development of both cities' motion picture industries. This paper looks at this period and the cinematic transition of both cities through the careers of four representative filmmakers: director Zhu Shilin, actors Li Lihua and Liu Qiong, and actor/director Shu Shi.
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Gu, Tingting. "Jin Yan and Wang Renmei: a star-crossed love story." Love, Marriage and Family No.2, 2008, pp.14-16.
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Gu Zhongjin (Art Department, Wuhan University). "The most beautiful of the past: humanity in troubled times – thoughts on《Spring in a Small Town》." Journal of Hubei University of Economics (Humanities and Social Sciences) v.5, No.2 (2008), pp.155-156.
【Abstract】Fei Mu's 1948 classic《Spring in a Small Town》 achieved a perfect grafting of Chinese traditional aesthetics and film language, a classic example of the poetic style of Chinese film. This classic still holds fascination today, because of its realistic presentation of the characteristics of the people and flavor of the times, and its accurate presentation of the realities of life then.
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He, Mei (Beijing Municipal Office of Internet Publicity). "Conflict – fusion – mutual benefit: 30 years of PRC-Hong Kong joint filmmaking". Film Art No.2 (2008), pp.5-12.
【Abstract】 Along with reform and opening up, mainland and Hong Kong filmmakers have now had 30 years of cooperative filmmaking, and after initial difficulties in working together, it has become an important creative model for cultural creation. How did PRC and HK filmmakers proceed from conflict to fusion to mutual benefit over those 30 years? Against the broader background of today's globalization and regional economic cooperation, joint production of motion pictures and television has seen vigorous development. Chinese language cinema and other cultural industries have emerged as a powerful force, one with lessons that other industries can draw on.
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Hong, Hong (Dept. of Literature, Nanjing Normal University). "On Chinese movies of the '17 years' and European and American movies." Contemporary Cinema No.9 (2008), pp.66-69.
【Abstract】After the founding of the PRC, for largely political reasons Chinese movies began moving away from the Hollywood influences of the past. Although Soviet film was an early influence, Italian neo-realism and French New Wave films were a growing influence on Chinese productions during this era.
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Hou, Keming (Beijing Film Academy Directing Dept. 2008 doctoral candidate). "Encrypted audiovisual language: research on the narratives in 'worker-peasant-soldier movies' 1949-1966". Journal of Beijing Film Academy No. 5 (2008), pp.1-7.
【Abstract】The system of visual images in the "17 years" not only served to communicate proletarian revolutionary ideas to the audiences, they also explained socialist ideology to the masses via film images and created New China's historic "mythical narrative".
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Huang Aihe. "Sun Daolin's film era." China Newsweek No.1, 2008, pp.61-63.
【Abstract】Sun Daolin, noted actor from the classical era of Chinese film, passed away on December 29, 2007. This article looks back at the life and career of the star of such modern classics as "Crows and Sparrows," "Early Spring" and "A Revolutionary Family."
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Jia, Xi. "Chow Yun-Fat: a golden age created a golden man." Popular Cinema No.22 (2008), pp.48-51.
【Abstract】A profile and review of the career of the popular Hong Kong star, who has made over 70 movies and 11 TV series in his 20-plus year career.
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Jiang, Jinsong (Jiaying College, Guangdong). "Chinese cultural symbols in 007 movies." Movie Review No.3 (2008), pp.18-19.
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Li Daoxin (College of Arts, Beijing University). "Chinese Film: the beginning of the history." Contemporary Cinema No.1, 2008, pp.67-73.
【Abstract】In the 1920s, as China's national cinema moved from its seed phase to sprouting, the first Chinese writings on movies began to appear. A thorough analysis of relevant articles in the film press, as well as the 1927 publications "China Film Yearbook" and "Overview of Chinese Shadow Plays" reveals that Chinese film literature in the 1920s started out at a fairly high level.
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_________. "Creating a new pattern for the history of Hong Kong cinema: a review of Hong Kong Movie History 1897-2006." Film Art No.5, (2008), p.154.
【Abstract】Review of the book by Zhao Weifang 赵卫防 (Beijing: China Radio and Television Press, 2007).
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Li, Na and He Zujian (Hunan University). "Sexual awareness in "Old Shanghai" themed films." Art Panorama No.1 (2008), pp.40-42.
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Li, Suyuan (China Film Art Research Center). "Chinese sports feature films during the '17 years' era". Contemporary Cinema No.8 (2008), pp.52-54.
【Abstract】After the founding of New China, the development of Chinese films entered a new historical period, and based upon the definite achievements of pre-Liberation sports films, developed in a new and more progressive direction.
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Li Yanchang. "Gu Yelu: 70 Years on the silver screen." Zhongshan Fengyu No.1, 2008, pp.41-44.
【Abstract】In an acting career that stretched from the 1930s to the 1980s, Gu Yelu appeared in more than 40 stage roles, over 70 motion pictures, and more than 100 TV episodes. This article profiles the life and career of Gu, who will turn 92 this year.
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Li, Yu (China Film Art Institute Research Center). "Old film, new filming: an attempt at updating 《Spring Silkworms》". Journal of Beijing Film Academy No.6 (2008).
【Abstract】In remaking this classic film for television, director Zhu Feng dealt with the problem of remaining close to the original while updating it for a modern audience by blending in some contemporary elements while replacing much of the original's ideological content with more commercial content.
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Ling, Ling. "《Burning of Red Lotus Temple》: dispelling authority and the fantasies of the weak -- on the psychology of the 1920s movie audience." Movie Review No.20 (2008), pp.14-15.
What the enormous success of the classic martial arts series indicates regarding the psychology of 1920s Chinese movie audiences.
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Liu, Xiaolei (Beijing Film Academy). "Multilateral and interactive characteristics of China's early localized filmmaking". Journal of Beijing Film Academy No.5 (2008).
【Abstract】Analysis of the characteristics of early localized filmmaking reaches this conclusion: the basic developmental pattern of early filmmaking in China was that Shanghai was the core and the industrial base; the southern region was the principal market, interacting with peripheral regions. This interaction was displayed chiefly in its tendency to create a speedier model for distribution and exhibition.
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Lu, Lin (Film and TV Institute, China Communications University). "Songstress Red Peony: exotic and nationalizing." Contemporary Cinema No.6, 2008, pp.50-53.
【Summary】Historical significance of China's first sound film.
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Lu, Maoqing. "'Burning of the Red Lotus Temple' and the world of martial arts films" Wenshi Jinghua (Essence of Literature and History) No.1, 2008, pp.212-214.
【Abstract】Not only are wuxia or swordsman films a major bright spot in China's national films, they are also the genre richest in the presentation of Chinese characteristics to the world film community. Many have the impression these films originated in the early 1980s, a tidal wave starting with "Mysterious Buddha," through "The Magic Braid" and "The Undaunted Wudang," then up to "Shaolin Temple." But few realize these films began as early as the late 1920s, when director Zhang Shichuan of the Mingxing (Star) studio made "Burning of the Red Lotus Temple," and in doing so ignited the swordsman film blaze, which rapidly became a prairie fire.
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Lu, Shaoyang (Beijing University Institute of News and Broadcasting). "The influence of foreign films on narratives in Chinese films of the '17 years' era". Journal of Beijing Film Academy No.5 (2008), pp.8-12.
【Summary】Examines the influences exerted on the narrative element in Chinese films during the "17 years" era by Hollywood movies, the Soviet "socialist realism" creative school, and Italian new realism films.
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Luo Zhengheng. "Luo Mingyou's God, Country and Home." Contemporary Cinema No.1 (2008), pp.48-49.
【Abstract】 After WW2 ended, Lianhua Film Company producer and studio head Luo Mingyou moved his family to Hong Kong, where he devoted the rest of his life to religious work. In this article, one of his sons recalls his father's devotion to country and family, and relates the wartime experiences that caused Luo Mingyou's religious awakening.
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Ni, Jun (Dept. of Film and TV, Central Drama Academy). "A casual chat about sports movies" World Knowledge No.16 (2008), p.65.
【Summary】An informal historical survey of Chinese feature films having sports as the theme.
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Peng, Lirong (Pedagogical Institute, Hechi Academy, Guangxi). "Metaphorical overtones in Zhang Yimou's 'Hero'." Movie Review No.6, 2008, pp.23-24.
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Peng, Yaochun (S&T Office, Jiangsu Police Academy, Nanjing). "Comedic praise and praising comedy: a rereading of 《Today is my Day Off》[1959]." Journal of Huaiyin Teachers College (Philosophy and Social Science Edition)
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Qin, Xiqing (Film and TV Institute, China Academy of Art). "Gain and loss of the early films of Ernst Lubitsch and Hong Shen" Contemporary Cinema No.6, 2008.
【Abstract】Starting out from the angle of comparing Chinese and foreign movies, this paper discusses the artistic style of Hong Shen's film creations, and the reasons for their commercial failure. On the one hand, Hong Shen's films in the 1920s were influenced by Ernst Lubitsch's early films in America, particularly in their depiction of psychological motivations, and in their warm artistic style. But at the same time, Hong Shen's 1920s creations lacked dramatic tension, which, combined with an over-reliance on lengthy camera shots and scene composition, rendered his films too highbrow to be popular, critically successful but without corresponding commercial appeal.
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Shan, Wanfeng. Early [i.e. pre-1949] Chinese sports feature films. Contemporary Cinema No.8 (2008), pp.49-51.
【Abstract】From the Opium War in 1840 right up until the establishment of New China, the nation was in a continual state of weakness. During this time, various prosperous and powerful Western nations gradually began to emphasize athletics, and revived the Olympic Games of ancient Greece. At the beginning of the 20th century, as Western sports were introduced to China, the founders of the Chinese Revolution spoke enthsiastically of sports. Motion pictures also began to enter China at the start of the century, and before long these included movies with sports as the theme. However, Chinese sports films were very limited in number, probably reflecting the backward state of Chinese athletics.
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Shen, Ying (Dept. of Management, Beijing Film Academy). "Preliminary economic analysis of the 1930s Chinese film industry." Journal of Beijing Film Academy No.3, 2008, pp.22-29.
【Abstract】A preliminary analysis of China's 1930s movie industry from the standpoint of industrial economics, from the macroscopic angle, Chinese cinema's production – distribution – exhibition process, and from the microscopic angle the links in their relationships.
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Shen Youyuan and Tang Li (Department of Chinese, Chaohu College, Anhui). "Narrative space and narrative techniques in Cultural Revolution 'memory movies'." Journal of Chaohu College v.10, No.1, (2008), pp.69-73.
【Abstract】From the 1980s and into the 1990s, Chinese filmmakers within a fairly condensed period of time produced a collection of films which concentrated on recollections of the Cultural Revolution. These movies became the narrative history of that era. This paper analyzes their narrative spaces and techniques, as well as the reasons behind them.
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Shi Jing. "National ideology and 1950s romantic triangle Films." Guangdong Breeze No.2, 2008, pp.63-65.
【Abstract】Only 11 films from the 17 years period, all made between 1956 to 1959, had a romantic triangle as a subject. This article discusses these films, which displayed a degree of liberality in sexual matters that constrasted sharply with those made in the initial post-Liberation period.
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Sun Jiansan. "1932: the first Chinese-made machine for synchronizing sound and film." Journal of Beijing Film Academy No.1, 2008, p.58.
【Abstract】Although sound movies had become common in the West by 1932, Chinese studios were forced to continue relying on silent film equipment until that year, when the first Chinese-made equipment appeared that made possible the synchronization of pictures with sound.
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Sun, Shiyi, ed. by Zhang Limin. "Remembering Nie Er." Contemporary Cinema No.10, 2008, pp.28-29.
【Abstract】 【Abstract】Sun Shiyi (1904-1966), a multitalented figure in Chinese art, film and politics, wrote this previously unpublished memoir of his friend and colleague, legendary Chinese composer Nie Er (1912-1935).
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Wang Qun. "Zhou Xuan – the voice and image of an era." Contemporary Cinema No.3, 2008, pp.29-35.
【Abstract】In the 1930s and 1940s, Zhou Xuan held an unmatched position in Chinese movies and pop music. Not only was she the reigning empress of movies and music during this time, with successful musical and straight dramatic roles in both Shanghai and Hong Kong movies, her influence surpassed the films themselves, spreading beyond China to the greater Chinese community. Today, more than half a century after Zhou Xuan's death, a look back at the screen treasures she left behind shows the influence of her art, still a source of reference and inspiration for her successors.
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Wang, Xufeng (Zhejiang Media Institute). "The emergence of Chinese sound movies". Advanced Motion Picture Technology No.12 (2008).
【Abstract】Against the background and process of the emergence of sound movies in China, this paper gives an overview of China's first movie sound stage and its first motion picture utilizing synchronized sound technology, and, in the order of their appearance, three earlier types of sound dubbing technology.
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Wu Fei (School of Journalism and Media, Southwest University, Chongqing). "The nationalization process of Chinese films through the Movies of Fei Mu." Journal of Chongqing Technology and Business University(Social Science Edition) No.1, 2008.
【Abstract】Through examination of Fei Mu's creative process in making his masterwork "Spring in a Small Town," this paper discusses his contributions to nationalizing Chinese motion pictures, and the historic role played by movies in China's nationalization process.
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Wu, Yumin (Ruian Daily, Zhejiang). "Narration of urban images during the 'Hundred Flowers' period." Contemporary Cinema No.5, 2008, pp.83-87.
【Abstract】In 1956, Mao Zedong decreed the policy of "Let 100 flowers bloom, let 100 schools of thought contend." During the time the "Double 100" policy was in effect, Chinese movie circles put out a batch of films which dealt with realistic life subjects, and with the city as background. These films differed from others made during the "17 years" only in their having urban settings. Study of these films gives us a new picture of urban settings, costume and lifestyles during the early years of New China.
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Xiao, Zhiwei (Dept. of History, California State University, San Marcos). "Civil societies, social activism, and protests against the movies in early twentieth century China." Contemporary Cinema No.2, 2008, pp.114-119.
【Abstract】Through several protest incidents touched off by motion pictures, this paper examines some issues related to historical research on modern Chinese history and the nongovernmental sector. Starting out from the angle, the 1930s "New Women" incident and the 1940s "False Phoenix" uproar, it concludes the traditional film historians' view of the former as a "pornographic tabloid" slandered progressive artists, while their view of the latter as a "pornographic gulde" was too simplistic and narrow. Investigation of these two controversies also shows that development of the once vigorous nongovernmental sector, established along with the Kuomindang regime, was suppressed and weakened as that regime grew in national strength and power.
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Yan, Chunjun. "Review of Zhongguo Dangdai Dianying Fazhan Shi." Film Art No.11 (2008), p.151.
【Abstract】Review of Historical Development of Chinese Film, a 2006 publication edited by Zhang Boqing and Jia Leilei, published by the Literature and Arts Press.
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Yan, Kalei (Tongji University). "The professionalization of film stars during China's early movie era". Journal of Beijing Film Academy No.5 (2008), pp.50-57.
【Abstract】Stars are one of the key elements in the motion picture and TV industries. While China's cinema is highly industrialized today, and its acting profession quite mature, screen acting as a profession actually emerged during the Republican period, specifically the years 1923-26.
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Yuan Chengliang. "Genesis of the film 'Little Flower." Extensive Collection of the Party History No.3, 2008, pp.47-48.
【Abstract】With its themes of sibling love and wartime friendship, the 1979 hit 《Little Flower》 touched audiences deeply. This article examines how one of China's modern classics came to be.
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______________. "On filming 《A Spring River Flows East》." Hundred Year Tide No.8 (2008), pp.71-74.
【Abstract】In the history of China's classical film era, no film went through the troubles during filming that 《A Spring River Flows East》experienced. It drew the most applause and the highest box office when it was first shown, and more than half a century later it those viewing it are still enthusiastic about it. How was it filmed? And what is the little-known story behind it?
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Yuan, Qingfeng (Dept.of Media Management, China Communications University). "《A Spray of Plum Blossoms》: taste greater than thought, form stronger than content." Journal of Xinjiang Arts Institute No.4 (2008).
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______________. "Awareness of moral passion, violence and class consciousness reflected in left-wing film: the 1933 Lianhua Film Company's film《Daybreak》as an example." Journal of of Hangzhou Normal University (Social Sciences) No.2 (2008).
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______________. "Changes in left-wing film: a merger of left-wing ideas with the elements of old the urban social structure -- the Lianhua studio's 《New Women》as an example." Reviews and Research on Chinese Literature No.3, 2008, pp.55-58.
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______________. "Elegant and vulgar culture in the background of《Twin Sisters》." Contemporary Cinema No.5 (2008).
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______________. "《Girl in an Isolated City》: aftermath of a 1936 left-wing film's rotation and transfer." Journal of Qinghai Normal University (Social Science Edition) No.6 (2008).
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______________. "Hardening and intellectual changes of the left-wing production mode in persepective: looking at the changes in left-wing films through the 1934 Lianghua Film Company's production《The Big Road》." Journal of Suzhou Technical University (Social Sciences) No.2 (2008).
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______________. "Impact of market transitions on the artistic features and narrative strategies of left-wing films, and its connection with new urban films." Journal of Hunan University (Social Sciences) No.3 (2008).
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______________. "Intrinsic and continuing relationship of national defense films and left-wing films -- taking the 1936 Lianhua Film Company's《Bloodshed on Wolf Mountain》as an example." Journal of Foshan University (Social Sciences) No.2 (2008).
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______________. "Left-wing films in transition: left-wing ideas and the structural elements of old urban films in new and old combinations -- the Lianhua Film Company's 《New Woman》as an example." Chinese Self-Study Guide No.3 (2008).
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______________. "Left-wing films under the restrictions of the 1930s Chinese film market and the commercial production model: taking《Light of Mother》as an example." Journal of Hangzhou Normal University (Social Science) No.4 (2008).
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______________. "On 《Fate of College Graduates》: the coexistence of criticism, class struggle, violence, sexuality and artistic simplicity." Journal of Ningbo University (Social Sciences) No.2 (2008).
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______________. "On his [Sun Shiyi's] contributions to the script and music track of《New Woman》." Contemporary Cinema No.10, 2008.
【Abstract】In an issue largely devoted to the life and career of writer/composer Sun Shiyi (1904-1966), this article looks at his largely-overlooked contributions to the 1934 silent classic directed by Cai Chusheng and starring Ruan Lingyu.
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______________. "On the creative characteristics and artistic contributions of《New Woman》's screenplay." Contemporary Cinema No.10 (2008), pp.41-43.
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______________. "On the traditional mode of urban film and the embodiment of new intellectual tastes -- changes in Chinese left-wing films as seen in 1934's《Queen of Sports》." Journal of Zhejiang University No.5 (2008).
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______________. "Radical nationalism and artistic expression in an extraordinary work: a current reading of the 1933 Lianhua Film Company's《Little Toys》." Journal of Shantou University (Humanities and Social Sciences) No.5 (2008).
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______________. "Reading the 1936 sound film《New and Old Shanghai》-- the only existing left-wing film made after the transformation in left-wing filmmaking." Journal of Shantou University (Humanities and Social Sciences) No.2 (2008).
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______________. "Refusing depth, maintaining the plane surface: a 1930s urban public reading of 1933's《Cosmetics Market》." Journal of Yangtze Normal University No.5 (2008).
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______________. "Screenplay characteristics and artistic contributions of 1934's《New Woman》." Contemporary Cinema No.10 (2008).
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Zhang, Bo (Shandong University Institute of History and Culture). "Developing China's film industry during the War of Resistance." Science and Technology Innovation Herald No.4, 2008, p.168.
【Abstract】 In carrying out the historical mission of boosting Chinese people's morale during the War of Resistance, China's filmmakers made significant breakthroughs in their own professional development.
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Zhang, Hua. "Acting New China: Shangguan Yunzhu's 'path to stardom' in New China". Contemporary Cinema 2008-12, pp.69-73.
【Abstract】Through the performing career of actress Shangguan Yunzhu, the author examines how the founding of New China affected the screen and stage roles and careers of a large group of pre-1949 stars who continued performing under the new regime.
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Zhang, Jie (Shangluo College). "The conflict between Dieyi and Juxian in 'Farewell to My Concubine' – remembering Zhang Guorong". Movie Review 2008:24.
【Abstract】Against the broader background of over half a century of Chinese history, from the early Republican era to the close of the Cultural Revolution, Chen Kaige's film relates the highs and lows in the lives and careers of Beijing opera performers Cheng Dieyi [Zhang Guorong/Leslie Cheung] and Duan Xiaolou [Zhang Fengyi]. The one break in their close male relationship comes when Xiaolou marries Juxian [Gong Li]. This paper discusses the resulting conflict between Dieyi and Juxian, and shows how that conflict makes other conflicts in the film more evident.
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Zhang, Lihua. "A cheongsamed woman's 《In the Mood for Love》-- thoughts after viewing 《Ruan Lingyu》." Movie Literature 2008-13, p.55.
--Retrospective thoughts on the 1992 HK biopic of Ruan.
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Zhang, Shuoguo (Shanghai University Institute of Literature). "Distribution and exhibition of Shanghai films in the early era of Liberation (1949-1952)." Film Art No.1, 2008, pp.95-102.
【Abstract】 In keeping with the Ministry of Culture's dictate that literature and art should "serve the workers, peasants and soldiers," during the period immediately following Liberation art unit administrators implemented a series of measures to totally restructure the distribution and exhibition of Shanghai motion pictures. While the Ministry's goal in adopting this policy was to provide equal access to culture for all, it also had the effect of creating a new system of inequality by restricting people's cultural options.
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Zhang, Xiaohui (Film and TV Institute, China Communications University). 《The Queen of Sport》: notes on the true spirit of sports). Film Art No.4, 2008, pp.117-119.
【Abstract】Reexamines the 1934 silent classic from the standpoint of its ideology.
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Zhang, Wei (Shanghai Library). "Charlie Chaplin: one night in Shanghai." New Films 2008-05, pp.42-50.
【Abstract】Chaplin and his fiancee Paulette Goddard (they were married a few months later) docked in Shanghai on the SS President Coolidge on March 9, 1936, staying until the following morning, when their ship embarked for Hong Kong. Chaplin's arrival created quite a stir in Shanghai, and this article goes through the item-by-item itinerary of their visit, where they went, the Chinese film personalities they met with, etc.
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Zhao Chuan. "Unique characteristics of China's film art." Chinese Art Digest No.1, 2008.
【Abstract】The history of film art is the history of the development of ideas with knowledge, art with technology, and design with technology, as well as their correlation with ideological trends, art creation, and science and technology. Most important is the historical development of the pattern, style and language of artistic design.
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Zhao, Zhi. "Hu Die's love and sorrow." Evening News Digest 2008-21, pp.20-21.
--Superficial overview of Hu Die's life and career.
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Zheng Peiwei (China Film Archive). "Premiere dates and venues for all Zhou Xuan's movies." Contemporary Cinema No.3, 2008, pp.35-36.
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Zhou, Huihua (Humanities and Social Sciences Division, Zhejiang Academy of Industrial Technology) and Song Baozhen (Institute for Theater Research, China Academy of Arts). "Hong Shen's modern theater concept was the impetus for Chinese film progress" Contemporary Cinema No.6, 2008.
【Abstract】 Focusing its research on Hong Shen's films of the 1920s and 1930s, this paper discusses how the American-trained Hong Shen brought new concepts of dramatic art to Chinese cinema, and led to the creation of screenplays and a general rejection of the patterns and practices of Chinese traditional theater which had been prevalent in earlier Chinese films.
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Zhu, Tianwei. (China Film Archive). "The Creation of Movie Music and Lyrics by Sun Shiyi. Contemporary Cinema No.10, 2008, pp.36-38.
【Abstract】In 1932, with China facing a national crisis, several young writers banded together to enter the Chinese film community and direct it into what became known as the "Left-wing film movement," an effort to change China through advocacy of progressive, reformist goals. Writer Xia Yan was lauded as the leader of this movement, but Xia himself argued that the first, the true leader, was Sun Shiyi.
