The Chinese Mirror

Chinese Film History Studies 2011

    This is a bibliography of Chinese film history studies published in the PRC in 2011.  No claim is made for its being complete.  Titles of books and articles have been translated into English, and abstracts are provided for those I have been able to examine personally.  Links within the abstracts are to articles in The Chinese Mirror.  In addition to their Chinese titles, most Chinese film journals and magazines carry an English title, and that is what is used here.  Since there was so much historical research on the topic during the past decade, especially in the run-up to the 2005 centennial of Chinese cinema, the series will eventually be backdated to 2000.

Books:

Bao, Limin.  Rambling on about Ye Qianyu.  Beijing:  Academic Press, 2011.  ISBN 9787507738780.

--A look at the life (1907-1995) and work of the animator , known to Chinese film historians as creator of the "Mr. Wang" cartoon strip, the source for a very popular series of 1930s motion picture comedies. Includes actress Wang Renmei's chapter on their marriage, reprinted from her posthumously published memoirs My Fame and Misfortune (2007).
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Cai, Ying.  Cultural Perspectives:  Zhang Yimou.  Beijing:  China Social Sciences Press, 2011.  ISBN 9787500494409.
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Chen, Gang.  1896-1937:  history of film culture consumption along Nanjing Road in Shanghai.  Beijing:  China Film Press, 2011.

--During the early development and, later, the golden age of Chinese cinema, Nanjing Road was the entertainment mecca of Shanghai.  This volume examines the acceptance and consumption of movie culture by urbanites who frequented this thoroughfare.
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Chinese Film Stars.  ed. by Mary Farquhar and Zhang Yingjin.  Beijing:  Peking University Press, 2011. 

--Translation of 2010 English edition publ. by Routledge.
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Dianying Zazhi (Movie Magazine).  ed. Yang Xiaozhou.  2v.  Changsha:  Yuelu Bookstore, 2011.  ISBN 978-7-8076-1448-7.

--Facsimile reproduction of the popular film magazine, originally published in Shanghai, 1947-1949.
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Huang, Zongying.  Poor Girl's Dowry:  the autobiography of Huang Zongying.  Nanjing:  Jiangsu Literary and Art Publishing House, 2011.  ISBN 9787539938738.

--Memoirs of the 1940-50s author and sometime film actress, widow of screen legend Zhao Dan.
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Ji, Zhiwei.  History of Chinese Film Professions.  Beijing:  China Film Press, 2011.  ISBN 9787106032784.

--Traces the development of filmmaking professions in Chinese cinema.  These include:  screenwriter, director, performer, photographer, sound, art, production distribution and screening, music, animation, and others.  In addition to reviewing the historical development of these, latest trends are discussed as well.
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Jia, Zhangke and Zhao Jing.  Asked:  Twelve Ways of Chasing Life Dreams.  Guilin:  Guangxi Normal University Press, 2011.  ISBN 9787549505081.

--The famous director and his co-author interviewed 12 movie and TV industry figures on how they went about achieving their life dreams.
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Lan, Fang, ed.  Lonely Fireworks:  Anita Mui.  Changsha:  Hunan Normal University Press, 2011.  ISBN 9787564805081.

--The career and at times controversial life (1963-2003) of the much-loved Hong Kong singer-actress (left).  Richly illustrated, but too many of the photos are not of the subject.
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Li, Li.  The Miao Minority.  Beijing University Press, 2011.  (Reading the Beauty of Film).  ISBN 9-787-301-182-406.

--discusses films by and about China's ethnic Miao minority. 
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Liu, Shu.  The Movie Emperor:  Jin Yan.  Beijing:  Chinese Literature and History Press, 2011.  ISBN 978-7-5034-2815-9.

--Biography of 1930s Korean-born matinee idol Jin Yan (1910-1983).
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_______.  The Uncrowned Empress:  Ruan Lingyu.  Beijing:  Chinese Literature and History Press, 2011.  ISBN  978-7-5034-2814-2.

--Biography of tragic silent film star Ruan Lingyu (1910-1935).
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Lu, Jiang and Huang Tianlai.  History of Chinese and Foreign Film and Television Animation.  Shanghai People's Fine Arts Publishing House.  ISBN 7-532-272-052.
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Shanghai Library Rare Books Collection, ed.  The First Half-Century of Chinese Movies:  the real stories behind the films.  Shanghai Science and Technology Literature Publishing House, 2011. ISBN 978-7-5439-4754-1.
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________________________________.  The First Half-Century of Chinese Movies:  film stars' recolllections in their own words.  Shanghai Science and Technology Literature Publishing House, 2011.  ISBN 978-7-543-947-627
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Shangrao Shuguang.  History of Chinese Ethnic Films.  Beijing:  China Film Press, 2011.  ISBN 9-787-106-033-163.

--History of films by and about China's ethnic minorities.
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Situ Huimin's Century, compiled by the China Film Archive and the China Film Association.  Beijing: China Film Press, 2010.  ISBN 97871060032012.  

--Collection of previously published materials about the 1930s writer-director, an early convert to Communism and maker of some notable left-wing films in the prewar era.  Later, a ranking official in the government of the PRC.
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Sun, Daolin.  Autobiography of Sun Daolin.  Peking University Press, 2011.  ISBN 9787301191231.

--Posthumously published memoirs of the respected actor-director (1921-2007), whose career spanned seven decades.
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Tian, Shen.  My Father Tian Han.  Shenyang:  Liaoning People's Press, 2011.  ISBN 9787205070670. 

--An author's memories of his famous father (1898-1968), dramatist, translator, poet and leader of revolutionary music and films, as well as of the author's grandfather.
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Wang, Fanghua.  Hard Image:  post-new era Chinese film studies.  Beijing:  Communications University of China Press, 2011.  ISBN 9-787-811-279-443.

--Concentrates on the "sixth generation" Chinese filmmakers and their works.
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Yi, Lijing.  Interviews with Chinese Actors.  Nanning:  Guangxi Normal University Press, 2011.  ISBN 978-7-5633-9987-1.

--Compilation of interviews with major Chinese film stars, originally published in the Guangzhou "Southern Weekend" newspaper supplement.  Among the 27 performers interviewed are Gong Li, Zhang Ziyi, Li Bingbing, Ge You, Zhao Wei and Chen Kun.
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Zhao, Qing.  Me and my Dad Zhao Dan.  2d ed.  Peking University Press, 2011.  ISBN 9787301182567.
--Memories of the major actor-director of the 1930s-60s by his daughter.  Revised and enlarged version of the 1st edition, published in 2005 by China Film Press.
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Articles

"Activities commemorating the 100th anniversary of famous cinematographer Huang Shaofen."  Film Art 2011-04.

【Abstract】Recap of the activities held jointly by several Shanghai motion picture organizations to commemorate the contributions of legendary cinematographer Huang Shaofen on the 100th anniversary of his birth, May 29, 2011. 
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Chen, Shan (Beijing Film Academy, Dept. of Literature).  "Industrial self-awareness:  the formation of the early movie industry on Nanjing Road in Shanghai."  Film Art 2011-03.
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Cheng, Xuanlin (Jilin Univ.).  "The rise, fall, and rise of the Chinese film dubbing industry and the development of strategies for its recovery."  Movie Literature 2011-05.

【Abstract】Chinese film dubbing fell from a once glorious position to one of weakness, but has recovered, resulting from the efforts of numerous outstanding artists who lent their voices to promoting the development of Chinese film dubbing.
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"Commemorating the 111th anniversary of Mr. Sun Yu."  New Films 2011-02.

【Abstract】On March 31, 2011, the Shanghai Film Association, the Shanghai Film Archive and the Shanghai Film (Group) Co., Ltd. jointly organized a series of activities to commemorate the 111th anniversary of Chinese film pioneer Sun Yu (1900-1990).  This article reviews the activities and Sun's outstanding career.

Chinese Film History Studies 2010

    This is a bibliography of Chinese film history studies published in the PRC in 2010.  No claim is made for its being complete.  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.  Since there was so much historical research on the topic during the past decade, especially in the run-up to the 2005 centennial of Chinese cinema, the series will eventually be backdated to 2000. 

Books:

Feng, Qun (Wuyi Univ.).  A Critical Biography of Li Minwei.  Beijing:  Culture and Art Publishing House, 2010.
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Fowler, Simon.  101 Essential Chinese Movies.  Hong Kong:  Earnshaw Books, 2010.  ISBN 978988-1091-1-4.

--The must-see viewing choices of Time Out Beijing's film editor, with brief 2-page essays on each movie.  Well-selected, and refreshing in that it is restricted to mainland films, too often overlooked in the Western publishing mania for Hong Kong productions. 
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Hu, Zhigang.  The Godfather of Entertainment:  Wang Zhongjun.  Nanjing:  Phoenix Press, 2010.  ISBN 978-7-80729-881-6.

--Biography of the man CNN called "China's Harvey Weinstein," co-founder of the Huayi Film Group, and producer of such successful films as《Warriors of Heaven and Earth》(2003),《The Banquet》(2006),《Assembly》(2007) and《Aftershock》(2010). 
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Liang, Zhenhua (Beijing Normal Univ.).  Chinese Video Blog.  Beijing Normal University Press, 2010. ISBN 978-7-303-10496-3.

--The author is an Associate Professor at BNU, a prominent critic and blogger, and a writer specializing in adapting literary works for CCTV miniseries.  In this work he has collected 58 of his blog entries reviewing movies available on video.  While nearly all are Chinese language films, a few productions from the West are included.
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Situ Huimin Centennial.  Beijing:  China Film Press, 2010.  ISBN 978-7-106-03201-2.

--Festschrift honoring Situ Huimin (1910-1987), early Chinese pioneer behind the camera, and an instrumental figure in bringing sound to Chinese cinema.  Articles tend to be heavily political.
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Sun, Meng.   "Her" Image in the Mirror:  Chinese women in Hollywood movies.  Beijing:  China Social Sciences Press, 2010.  ISBN 9787500492573.

--Identifies 15 distinct types of images of Chinese women in Hollywood movies in various eras, and how these changed with historical and politial events.
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Tang, Xiaodan.  A Century of Movies, a Century of Stars.  Beijing University Press, 2010.  ISBN 978-7-30116-254-5.

--The memoirs of 1930s-50s director Tang Xiaodan (1916-    ).
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Wei, Junzi.  The Romance of Hong Kong Movies.  Shanghai:  Culture and Arts Publishing House, 2010. ISBN 9-787-503-941-054.
--A dedicated (some might say obsessed) HK film buff's recollections of his past favorites, as far-ranging as the horror films of Lam Ching-Ying, the urban comedies of Michael Hui, Chang Che's martial arts.... Popular work, gossipy at times. 
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Zhang, Wei (Shanghai Library).  City, Cinema and Media:  writings on Republican film.  Shanghai:  Tongji University Press, 2010.  ISBN 978-7-5608-4191-5.

--49 collected papers by one of China's most prolific researchers on Republican era movie history.  Most, if not all, appear to be previously published although citations are not provided.
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Zhu, Jipeng (East China Science and Technology Univ.).  Kunling Benchmark:  Tong Zhiling.  Shanghai People's Publishing House, 2010.  ISBN 9787208090859.

--Biography of the Peking Opera star (1922-1995) who had several notable non-musical film roles, memorably that of the adulterous and eventually murderous innkeeper's wife in 1948's《Night Inn》, director Huang Zuolin's take on Gorky's《The Lower Depths》.

Articles:

"Adopted daughter Xiao Yu."  Movie 2010-06, p.27.

【Abstract】In her March, 1935 suicide note, silent star Ruan Lingyu asked her last lover, tea magnate Tang Jishan, to provide for her mother and adopted daughter.  As this brief article relates, Tang apparently honored Ruan's wishes.
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"Bruce Lee in my Heart."  Contemporary Cinema 2010-11, pp.34-37.

 【Abstract】Several action movie filmmakers recall Bruce Lee and what his legacy has meant to them.  Among those quoted are Ng See-yuen, John Woo, Jackie Chan, Wilson Yip, Teddy Chan, Manfred Wong, Ma Jingle, Arthur Wong and James Yuen. 
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Cao, Juan and Zhang Peng.  "Hong Kong's image in mainland movies."  Movie Literature 2010-09, pp.10-11.

【Abstract】This paper reviews the image of Hong Kong in mainland films since 1949, discussing the topic in the differing historical contexts of the era.
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Chen, Mo (China Film Art Research Center).  "1957:  a real political drama in Bai Yang's life."  Contemporary Cinema 2010-06, pp.32-36.

【Abstract】In 1957, Bai Yang (1920-1997) was at a life and career peak.  Her two latest films,
《For Peace》and《New Year's Sacrifice》were doing well, and in a fan vote that year organized by the "Beijing Daily" (the first such vote since establishment of the PRC) she had been elected "most popular actor."  In addition, she was elected an officer of the China Film Workers Association, and part of Chinese delegations to three international film festivals.  But she was also politically active, a deputy to the National People's Congress, and that role involved her in a real-life drama, a two-act drama in which everyone wrote their own lines.  If adapted for screen, the first act would have been titled "a hundred flowers contending," and the second the "anti-rightist campaign."
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Chinese Film History Studies 2009

    This is a bibliography of Chinese language film history studies published in 2009.  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.

Books:

 

Cui, Lisi.  The Master Cui Wei.  (China Film Biography Series).   Beijing:  China Film Press, 2009.  ISBN 978-7-106-03085-8.

--Life and work of the actor/director (1912-1979), whose directing credits include《Song of Youth》(1959) and《Little Soldier Zhang Ga》(1963). 
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Feng, Qun.  A Critical History of Li Minwei.  Beijing:  Cultural Arts Press, 2009.  ISBN 7-50393-692-0.

--Li Minwei [Cantonese:  Lai Man-Wai] was the father of Hong Kong cinema.

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Guo, Weifeng.  Living for Movies:  a biography of Xie Jin.  Beijing:  China Film Press, 2009.  ISBN 978-7-106-03135-0.  

--Biography of the leading Fourth Generation director (1923-2008), whose films include such modern classics as 《Woman Basketball Player No.5》(1957),《Stage Sisters》(1965),《Legend of Tianyun Mountain》(1980),《Hibiscus Town》(1986) and《The Last Aristocrats》(1989).
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Hu, Peng.  Lamplight of my Life:  autobiography of Hu Peng.  (China Film Biography Series).  Beijing: China Film Press, 2009.  ISBN 978-7-106-03029-2.

--Hu Peng (1916-    ) was a prominent Shanghai stage actress before entering film work, appearing in such early post-Liberation films as《Guerrilas of the Railway》and《The White-Haired Girl》(both 1950).
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Jia, Zhangke.  Jia Zhangke's Film Notes, 1996-2008.  Beijing University Press, 2009.ISBN 978-7-301-14911-9.

--The representative sixth generation director's comments on his own films, compiled over the first 12 years of his directing career.  In addition to Jia's own diary-type entires compiled during filming, the book also includes his comments recorded in various magazine articles and interviews.  Also included is the director's observations concerning what he terms "my elders," i.e. directors he takes as professional role models, most notably Martin Scorsese.
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Lam, Edward (林奕华).  Waiting for Hong Kong in Hong Kong.  Hangzhou:  Zhejiang Univ. Press, 2009. ISBN 978-7-30806845-1. 

--Compilation of many critical essays by Lam, who for more than two decades has been heavily involved creatively and critically with theater, dance, film and education, both in his native Hong Kong and in Britain.  This book compiles many of his critical essays and commentaries, drawn together from a widely scattered variety of HK and mainland newspapers and magazines.  Among numerous film-related topics discussed are the Shaw Brothers studio, writer Eileen Zhang, actresses Anita Mui, Lydia Shum, Maggie Cheung, Josephine Siao and Carina Lau. 
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Li, Na and Qian Na.  Biography of Sun Daolin.  Shanghai People's Press, 2009.  ISBN 9787208081956.

--Sun Daolin (1921-2009) was a top Chinese actor during the earlier years of the PRC, then a leading director and writer after the Cultural Revolution.
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Liu, Shu and Ma Zhongxing.  The Absolute Beauty:  a pictorial biography of Wang Danfeng.  Beijing: CCP History Press, 2009.  ISBN 7509800080.

--Wang Danfeng 王丹凤 (1925-    ) was a major Shanghai and later Hong Kong star from the 1940s-1970s.

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Liu, Xiaolei.  1896-1949:  Formation of the Early Chinese Movie Industry Outside of the Shanghai Area. Beijing:  China Film Press, 2009.  ISBN 978-7-106-03052-0.
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Liu, Xiuwen, ed.  China's Century of Classic Movie Songs 1905-2005.  Beijing:  China Film Press, 2009. ISBN 987-7-106-02974-6.

 

--100 songs from Chinese movies (China, Hong Kong and Taiwan) that became popular hits, films ranging from《The Big Road》(1934) to《Comrades:  Almost a Love Story》(1996).  Discusses how each song fit into the films in which they were introduced. 

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Shi, Nan.  Biography of Shu Xiuwen.  Shanghai:  Culture and Arts Publishing House, 2009.

--Biography of the 1930s-60s actress (1915-1969), as talented at dubbing foreign films as she was at acting in Chinese, but another victim of Cultural Revolution violence. 

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Sixty Years of Chinese Film Theory and Criticism.  Edited by the China Filmmakers Association Working Committees on Theory and Criticism.  Beijing:  China Film Press, 2009.  ISBN 978-7-106-031361-9.
--Papers presented at a symposium.  Topics cover six decades of film theory, film aesthetics, cultural studies, film criticism, theory and comment, film history research, directing theory and industrial research. Scope of coverage includes China, Hong Kong and Taiwan.
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Wang, Jianqiang.  Using Life to Warm Art:  the biography of Qin Yi.  Nanjing:  Jiangsu People's Press, 2009.  ISBN 7214056038.

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--1930s-50s actress Qin Yi 秦怡 (1922-    ) was the leading lady in such successful films as 《Faraway Love》,《Mother》and《Woman Basketball Player No.5》, and the widow of "Movie Emperor" Jin Yan.

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Ying, Ruocheng with Claire Conceison.  Voices Carry:  the autobiography of Ying Ruocheng  Beijing:  CITIC Press, 2009.  ISBN 7508616154.

--Chinese translation of the deathbed recollections of the Chinese film and theater actor-director-official 英若诚 (1929-2003).  Originally published in English as:  Voices Carry:  behind bars and backstage during China's revolution and reform.  Lanham, Md:  Rowman & Littlefield Publishers, 2009.
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Yu, Li and Qian Na.  Biography of Sun Daolin.  Shanghai People's Press, 2009.  ISBN 7208081956.

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Yuan, Qingfeng (School of Media Management, Communications University of China).  Black and white film culture tense:  reading the existing texts of early Chinese films, 1922 to 1936.  Shanghai:  Sanlian Bookstore, 2009.  ISBN 978-7-5426-2985-2.

--Collection of 36 previously published articles by one of the most prolific Chinese film historians.
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Zhan, Youpeng.  Biography of Run Run Shaw.  Tianjin People's Publishing House, 2009.  ISBN 9787201060804.

--Biography of the last surviving Shaw (Shao) brother, told against the background of the studio's history, beginning with its start as the Tianyi Film Company in late 1920s Shanghai.
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Zheng, Peikai (Chinese Civilisation Centre, City Univ. of Hong Kong), chief editor.  The World of《Lust, Caution》.  

--The most complete compilation of documents relating to the making and interpretation of Ang Lee's 2007 film adaptation of Eileen Chang's story.  In addition to dozens of color stills from the film and its creation, the book includes interviews with the director, screenwriter Wang Huiling, co-stars Tony Leung and Tang Wei, extended reviews by film critics Edward Lam (Lin Yuhua) and Zhou Liming, and comments by literary scholar and critic Leo Ou-fan Lee.

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Zhuo, Botang.  Lectures on the Films of Hou Hsiao-hsien.  Nanning:  Guangxi Normal Univ. Press, 2009.  ISBN: 9787563384013. 

--Transcripts of a series of lectures delivered by the author at Hong Kong Baptist University in 2007.  The publisher's description says this is the first comprehensive review of Taiwan director Hou Hsiao-hsien's creative process, and the first to discuss his film aesthetics and beliefs.  Two of the lectures examine the influences on of Ozu and Cartier-Bresson on Hou. 

 

Articles:

 

Ai, Qing (Fudan Univ., Shanghai).  "Zhang Shichuan:  Chinese cinema's pioneer of the 'commercial aesthetic' film."  New Films No.6 (2009), pp.48-54.

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Chen Hua (Zhonghua Univ.).  "Feminism and the images of women in the films of Wong Kar Wai" Art, No.8 (2009), pp.68-69.

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Chen, Mo (China Film Art Research Center).  "'The Light of East Asia':  on the movies and life of He Feiguang."  Contemporary Cinema no.3 (2009), pp.84-92.

 

【Abstract】He Feiguang (1913-1997) was a famous writer-director in the 1930s, maker of such classics as《Light of Mother》and《Evil Neighbors》, as well as such resistance films as《Protect Our Homeland》and《Light of East Asia》.  His films were noted for their humanity as well as their patriotism.  Yet in spite of this, he has been largely forgotten and his achievements consigned to the dustbin of history.  This paper attempts to find the reasons for this.  

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________.  "Talking about the growth of film historiography:  details and structure."  Contemporary CinemaNo.4 (2009), pp.66-69.

 

【Abstract】Remarks by a Chinese film historian at a 2008 forum on the status of film history in China.

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Ding, Yaping (Inst. of Film and TV, China Art Academy).  "Liu Qiong and his movies."  Contemporary Cinema No.8 (2009), pp.32-39.

 

【Abstract】A review of the 60-year career of the actor-director (1913-2002).

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____________."The rise and growth of movie history."  Contemporary Cinema No.4 (2009), pp.69-71.

 

【Abstract】A film historian's reflections at a 2008 forum on past trends in the profession and his projections on where it might be headed in the digital age.  

Chinese Film History Studies 2008

    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:

Chen, Peizhan (Sun Yat-sen Univ.).  Cai Chusheng.  (Chinese Film Artists series).  Guangzhou: Guangdong People's Publishing House, 2008.  ISBN 9787218058672.

--Biography of the 1930s-50s writer-director (1902-1968).

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.

Gu, Zhikun.  The Master:  Xie Jin.  Chongqing Publishing House, 2008.  ISBN 9787229003968.

--Biography of the leading 4th generation director (1923-2008), with discussion of his movies against the background of events in his life and Chinese politics. 

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, Long.  Villain 2:  my supporting role life.  Shanghai Literature and Art Publishing House, 2008. ISBN 9787532133086.  

--Beginning in acting in 1943, at the age of 15, Liu Long (1929-    ) was one of China's most reliable and admired stage, screen and TV "bad guys" during a 62-year career.  In this 2nd volume of his memoirs, he reviews that career and his life. 

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.

Xie Jin Pictorial Biography, compiled by the Shanghai Xie Jin Film Technology Co., Ltd., and the Shanghai Univ. Xie Jin Film Museum.  Xiamen:  Fudan University Press, 2008.  ISBN 9787309063530. 

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.
*
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.
*
________.  "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. 
*
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.
* 
_______.  "The Structure of Film Historiography:  historical study of Zhongguo Dianying Fazhan Shi." Film Art No.6 (2008), pp.101-109.
*
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.

Chinese Film History Studies 2007

This is a bibliography of Chinese language film history studies published in 2007.  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.

Books

Ai, Yi.  Movie King of the Shanghai Bund:  Zhang Shankun.  Shanghai People's Press, 2007.  ISBN 978-7-20806-908-4.

--Biography of the producer and entrepreneur who almost single-handedly kept Chinese cinema alive through World War II, providing a means of livelihood to the many Chinese filmmakers stranded in occupied Shanghai.
*
Chinese Film:  an illustrated history (1905-2005).  Beijing:  China Communications University Press, 2007.  ISBN 978-7-81085-733-8.

--Richly illustrated pictorial history of Chinese film (mainland, HK and Taiwan), with accompanying text.  An outstanding reference work.
*
Di, Hui.  Hong Kong Movies:  biographies of Golden Elephant best actor and actress award winners. Shanghai Bookstore Press, 2007.  ISBN 978-7-80678-699-4.

--Profiles of the winners of these awards through the 25th HK awards.  Includes a complete list of nominees in these categories.
*
Jiao, Xiongping and Qu Guizhi.  Li Hanxiang:  pioneer of Taiwan film.  Taibei:  Yuesheng Cultural Press, 2007.  ISBN 978-9-57630-728-7.

--Biography of  writer/director Li Hanxiang, whose career spanned five decades.
*
Li, Daoxin.  History of Chinese Film Criticism, 1897-2000.  Beijing:  Beijing University Press, 2007.  ISBN 7301122470.
*
Liu, Guojun.  Shu Xiuwen.  Chongqing:  Chongqing Publishing House, 2007.  ISBN 978-7-53668-574-1.

--Biography of the outstanding actress (1915-1969), star of such classics as 《New and Old Shanghai》, 《New Year's Money》and 《A Spring River Flows East》, who perished in the Cultural Revolution.
*
Liu, Shu.  Alone and Out of Sight:  Zhou Xuan's private album.  Beijing:  Unity Press, 2007.  ISBN 978-7-80214-320-3.
*
_______.  Lonely Cold Star:  Shangguan Yunzhu.  Beijing:  Unity Press, 2007.  ISBN 978-7-80214-098-1.

--Biography of the popular actress (1922-1968), remembered for such classics as 《Long Live the Wife》, 《Myriad of Lights》,《A Spring River Flows East》and《Crows and Sparrows》, and who perished in the Cultural Revolution.
*
Shi, Man.  Li Lili:  a pictorial history of a Chinese star's life and movies from the 1930s to 1950s. Chongqing:  Chongqing Publishing House, 2007.   ISBN 978-7-53668-575-8.
*
Shu, Xiaoming (Beijing Film Academy).  Chinese Film History:  teaching and research.  Beijing:  China Film Press, 2007.  ISBN 9787106027667.
--Lectures on Chinese filmmaking and filmmakers during the "17 years" period (1949-1966).
*
Wang, Renmei and Xie Bo.  My Fame and Misfortune:  the memoirs of Wang Renmei.  Beijing:  Unity Press, 2007.  ISBN 978-7-80214-097-4.

--Posthumously published memoirs of the 1930s megastar (1914-1987).
*
Xie, Jin.  The Xie Jin Anthology:  caring.  Shanghai University Press, 2007.  ISBN 9787811180428.

--In-depth examination of three Xie Jin films which deal with people coping with natural limitations and other people's predjudices.  Includes many still photos from the movies, notes on their making, and commentaries from experts and film scholars.  The films discussed are: 《Youth》(1977), which deals with predjudice against the deaf;《Venus》(1992), which looks at the problems of the mentally retarded; and《The Old Man and the Dog》, which examines ageism.
*
The Xie Jin Film Anthology:  reflection.  Shanghai University Press, 2007.  ISBN 9787811180404.

 --In-depth examination of three Xie Jin films which deal with ordinary people suffering during two Chinese national political movements, the anti-rightist campaign of the late 1950s, and then the Cultural Revolution (1966-1976).  Includes many still photos from the movies, notes on their making, and commentaries from experts and film scholars.  The films discussed are: 《Legend of Tianyun Mountain》(1980),《Herdsman》(1982); and《Hibiscus Town》(1986).
*
The Xie Jin Film Anthology:  sports.  Shanghai University Press, 2007.  ISBN 9787811180435.

--In-depth examination of three Xie Jin films which examines social and political issues against a larger background of sports.  Includes many still photos from the movies, notes on their making, and  commentaries from experts and film scholars.  The films discussed are: 《Woman Basketball Player No.5》(1957),《Big Li, Little Li and Old Li》(1962) [physical conditioning and bicycle racing]; and《Woman Soccer Player No.9》(2000).
*
The Xie Jin Film Anthology:  war.  Shanghai University Press, 2007.  ISBN 9787811180381.

--In-depth examination of three Xie Jin films which have war as the theme.  Includes many still photos from the movies, notes on their making, and  commentaries from experts and film scholars.  The films discussed are: 《Red Detachment of Women》(1961),《The Cradle》(1979) [both set during the Chinese Civil War of the late 1940s]; and《Garlands at the Foot of the Mountain》(1984) [set during the Sino-Vietnamese border war of 1979].
*
Yu, Lina.  Nie Erh.  Beijing:  Central Compilation and Translation Press, 2007.  ISBN 9787802113398.  

--Biography of the revolutionary composer who during his brief life (1912-1935) wrote some of China's most beloved songs, including such classics from movies as "Song of the Fishermen," "Graduation Song" and "March of the Volunteers," the music to which became China's national anthem.
*
Zhang, Wei.  Old Shanghai Cover Celebrities.  Shanghai Century Publishing, 2007.  ISBN 9787532623013.

--collected biographical articles on 27 classic-era stars who were frequent film magazine cover subjects.
* 
__________, and Zhou Yuan.  Old Shanghai Covers.  Shanghai Dictionary Press, 2007.  ISBN 7532623017.

--collection of classical era movie magazine covers which featured stars.
*
Zhao, Weifang.  History of Hong Kong Movies, 1897-2006.  Beijing:  China Film Art Research Center, 2007.  ISBN 978-7-50435-300-9.
*
Zhong, Dafeng and Shu Xiaoming.  Chinese Film History.  Beijing:  China Radio and Television Press, 2007.  ISBN 978-7-50432-784-0.

--A survey of China's cinematic history, designed as a textbook for film studies courses. 
*
Zhou, Wei and Chang Jing.  Biography of Zhou Xuan.  Beijing:  Contemporary Economic Press, 2007.  ISBN 978-7-80221-340-1.

--Biography of the 1930s-40s megastar singer/actress (1920-1957).

Chinese Film History Studies 2006

This is a bibliography of Chinese language film history studies published in 2006.  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.

Books

Bai, Ruixue.  In Search of Classic War Movies:  the stories behind the scenes.  Beijing:  PLA Literature Press, 2006.  ISBN 9787503318993.

--Examines 14 classic Chinese war films which were based on actual historical events. 
*
Chen, Mo.  Film Retrospect of a Century.  Taibei:  Stormy Era Press, 2006.  ISBN 978-986-146-278-3.

--126 brief essays on the first century of Chinese cinema, which taken together make up a history of the era.
*
Chinese Film:  an illustrated history.  Beijing:  China Communications University Press, 2006.  ISBN 978-7-81085-733-8.

--Richly illustrated, remarkably comprehensive reference covering Chinese cinema's first century, including Hong Kong and Taiwan.  Traditional characters used.
*
Chinese Film Research Materials 1949-1979.  Edited by Wu Da for the Chinese Film Art Research Center of the China Film Archive.  3v.  Beijing:  Culture and Art Publishing House, 2006.  ISBN 7-5039-2958-8.

--Reprints of previously published articles, many by CCP and PRC government figures setting out official policy on filmmaking under the new regime, criticism of specific films e.g.《The Life of Wu Xun》, etc.  Heavily political content, especially v.3, which covers the Cultural Revolution era and the earliest public attacks on the "Gang of Four."
*
Contemporary Chinese Film Development History.  Zhang Baiqing and Jia Leilei, eds.  2v.  Beijing:  Culture and Art Publishing House, 2006.  ISBN 7-5039-2696-1.

--A companion set to the previous entry in this bibliography, concentrating on various aspects of Chinese cinematic development through contemporary articles.  In addition to specific films and genres, also covers such recent issues as the film industry since reform and opening up, joining the WTO, etc.
*
Dou, Jiangming, chief ed.  China's Century of Film.  Fuzhou:  Fudan University Press, 2006.  ISBN 7309048431. 
*
History of Chinese Film.  Li Shaobai, chief editor.  Beijing:  Higher Education Press, 2006.  ISBN 7-04-018768-X.
*
Li, Daoxin.  History of Chinese Movies.  Beijing:  Higher Education Press, 2006.  ISBN 704018768X.
*
________.  Monographic Study of the History of Chinese Film.  Beijing:  Beijing University Press, 2006.  ISBN 7-301-10554-1.  

--Articles on various topics and individuals in Chinese movie history, which taken as a whole constitute a scholarly history of the topic.  Also discusses Chinese audiences' reactions to motion pictures from the West.  Excellent bibliographies.
*
Li, Duoyu.  100 Years of Chinese Movies 1905-1976.  Beijing:  China Broadcasting and Television Press, 2006.   

--v.2 of a 2-volume survey history, with v.1 published in 2005.
*
Liu, Shu.  Old Movie Stars of the Past.  Beijing:  China Broadcasting and Television Press, 2006.  ISBN: 7504347973.
*
_______.  Old Movies of the Past.  Beijing:  China Broadcasting and Television Press, 2006.  ISBN 7-5043-4797-3.

--Redundant titles, should be "of my past":  recollections of the author's personal favorites, all from the post-1949 years.
*
Mei, Ling.  Beauty and Sadness:  the real Zhou Xuan.  Beijing:  Oriental Press, 2006.
ISBN 978-7-5060-2414-3.

--Biography of the popular singer-actress (right) whose off-screen life was more tragic than most of her movie roles.
*
Old Chinese Movie Posters (pre-Liberation).  Shijiazhuang:  Hebei Arts Press, 2006.  ISBN 7-5310-2467-5.

--reproductions of pre-1950 movie posters, with brief essays on the films' significance, and estimated market prices of originals.  Subsequent volumes in the series have covered the decades since.
*
Rarities:  the Private Collections of Old Movie Stars.  Liu Shu, ed.  Shanghai People's Fine Arts Press, 2006.  ISBN 7-5322-4699-X.

--Many photos of film stars of the classic era, drawn both from archives and from their personal collections.
*
Sun, Xiantao.  100 Years of Chinese Movies 1977-2005.  Beijing:  China Broadcasting and Television Press, 2006.  ISBN 7-5043-4813-9.

--v.2 of a 2-volume survey history, with v.1 published in 2005.
*
The Film Art of Cai Chusheng, 1905-2005.  Edited by the Guangdong Provincial Joint Literary and Arts Association.  Guangzhou:  Guangdong Film Recording Archive, 2006.

--Collected articles on the movies of Cai Chusheng (1906-1968), writer/director of such classics as《Morning in the Metropolis》(1933),《Song of the Fishermen》(1934),《A New Woman》(1935) and《Orphan Island Paradise》(1939, and co-director of 《A Spring River Flows East》(1947).
* 
Yang, Jinfu.  A Centennial Pictorial History of Shanghai Motion Pictures.  Shanghai:  Wenhui Press, 2006.

--Richly illustrated history of the first 100 years of Chinese (specifically Shanghai) cinema.
*
Zhu, Tianwei and Zhou Wei.  The Songs of Zhou Xuan.  Beijing:  People's Music Press, 2006.  ISBN 7-103-03064-6.  (Includes CD.)

--A selection of 125 Zhou Xuan songs, 86 of which were either introduced or featured in movies.  This book arranges the movie songs in chronological order, discusses the context in which the films presented them, and discusses Zhou's role in the film.  Includes a CD of the songs discussed.  

Chinese Film History Studies 2005

This is a bibliography of Chinese language film history studies published in 2005.  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.  Links are to previous CM articles.

Books:

Cai, Hongsheng.  Cai Chusheng:  pioneer of Chinese film.  Guangzhou:  Guangdong People's Press, 2005.

--Biography of the writer-director (1906-1968), creator of such classics as《Dawn in the Metropolis》(1933),《Song of the Fisherman》(1934) and《Orphan Island Paradise》(1939).
*
Chen, Mo (China Film Art Research Center).  History of Chinese Martial Arts Movies.  Beijing:  China Film Press, 2005.  ISBN 7-106-02378-7.

--A specialist's essays on the development of the film genre from the silent era to the present, including its flourishing years in Hong Kong.  Individual chapters discuss the contributions of Chang Che, King Hu, Bruce Lee, Jackie Chan, Tsui Hark and others.  Concludes with the author's speculations as to the genre's direction in the 21st century.
*
Jia, Leilei (China Film Art Research Center).  History of Chinese Martial Arts Movies.  Beijing:  Culture and Arts Publishing House, 2005.  ISBN 7-5039-2639-2.

--Survey history by a specialist on the genre.  Takes a more chronological approach than the Chen Mo work above, which concentrates more on major figures in martial arts movies.
*
Li, Daoxin.  History of Chinese Film Culture, 1905-2004.  Beijing University Press, 2005.  ISBN 7-301-08438-2.
*
Li, Duoyu.  100 Years of Chinese Movies 1905-1976.  Beijing:  China Broadcasting and Television Press, 2005.  ISBN 7-5043-4700-0.

--v.1 of a 2-volume survey history, with v.2 published in 2006.
*
Lu, Qiangshi.  Chinese Movie History 1905-1949:  recounting and remembering early Chinese film.  Beijing:  Culture and Art Publishing House, 2005.  ISBN 7-5039-2638-4.
*
Meng, Xin chief editor.  Selections From China's Century of Movie Songs.  Beijing:  Modern Press, 2005.  ISBN 7-801188-439-8.
*
Movie Memories.  Beijing:  Culture and Art Publishing House, 2005.  ISBN 7-5039-2672-4.

--Essays by four Chinese movie critics and historians on classic films and filmmakers.  Only the first two (Ding Yaping and Zhang Shenwu) write about Chinese films.
*
Readings for China's Movie Centennial:  100 outstanding films.  Huhhot:  Inner Mongolia University Press, 2005.  ISBN 978-7-81074-909-1.
*
Shu, Xiaoming (Beijing Film Academy).  The Artistic World of Shi Hui.  Beijing:  China Film Press, 2005.  ISBN 9787106022518.

--Examines the works of the 1940s-50s actor-director (1915-1957).
*
Tadao, Sato, author, Qian Hang, translator.  One Hundred Years of Chinese Cinema.  Shanghai Bookstore Press, 2005.  ISBN 7-806-78398-9.

--Chinese translation of a survey history by a prominent Japanese film historian and critic.

*
Tian, Benxiang and Shi Bosong.  War of Resistance Movies.  Kaifeng:  Henan University Press, 2005.

--brief synopses, with critical analysis, of Chinese anti-Japanese films made between 1931 and 1945.
*
Yang, Yuanying.  Filmmakers and Cultural Representation:  genealogical research on Chinese movie directors.  Beijing:  China Film Press, 2005.
*
Yu, Min.  A Real Person:  a biography of Tian Fang.  Beijing:  China Film Press, 2005.

--Biography of the 1930s actor who later became a leading studio and government executive.
*
Zhang, Wei.  On Paper Viewing Record 1921-1949.  Tianjin:  Hundred Flowers Literary Press, 2005.  ISBN 7-5306-4122-0. 

--From analysis of "shuomingshu" (program notes issued to classical era film audiences, providing cast lists and plot synopses), the author reconstructs 73 films, most no longer extant.
*
Zhang, Zhilu.  History of Chinese Children's Movies.  Beijing:  China Film Press, 2005.  ISBN  7-106-02396-5.
*
Zhao, Danqing.  Creating the Screen Image.  Beijing:  China Film Press, 2005.  ISBN 9787106022228.  
--In-depth analyses of the major movie performances of 1930s-50s star Zhao Dan (1915-1980), with special attention to how this Chinese acting legend went about creating his role in each.  Films discussed are:《Crossroads》and《Street Angels》(1937),《Crows and Sparrows》(1940),《Life of Wu Xun》(1950),《Li Shizhen》(1956),《Soul of the Sea》(1957),《Lin Zexu》and《Nie Erh》(1959).  An appendix discusses Zhao's acting legacy.  
*
Zhu, Tianwei.  Classic Songs From 100 Years of Chinese Film.  Beijing:  People's Music Press, 2005.  ISBN 7-103-02964-4.

Articles:

Bian, Jing (China Communications Univ.).  "Leaping to expressions of passion and contradictions -- analyzing the directing art of Zheng Junlin."  Contemporary Cinema No.2 (2005), pp.49-53.
*
__________.  "Timeline of Zheng Junli's life and filmography."  Contemporary Cinema 2005-02, p.63.

 【Abstract】An almost year-by-year timeline of the life and career of actor/director Zheng Junli (1911-1969), star of《Loving Blood of the Volcano》(1932),《The Big Road》(1934) and《Song of China》(1935), and co-director of《A Spring River Flows East》(1947) and《Crows and Sparrows》(1949).
*

Chen, Mo (China Film Art Research Center).  "Another view after watching《Scenes of City Life》."  Contemporary Cinema 2005-03, pp.51-55.

【Abstract】A retrospective review of the 1935 film, from the Diantong studio, written and directed by Yuan Muzhi.
*
Chen, Qiu (Shandong Normal Univ. Dept. of Chinese).  "Western cultural imperialist tendencies in the writings of Pearl Buck and the films of Zhang Yimou."  Journal of Linyi Normal University 2005-02, pp.68-71.

【Abstract】Viewed from the perspective of East-West ideological differences, the literary creations of Pearl S. Buck in their Chinese themes either explicitly of implicitly bear the imperial consciousness and hegemonic discourse of colonialism and shows the conflicts between colonialism and nationalism, religiously-based ideologies and racial differences.  Zhang Yimou has been an outstanding student of this, and in his films there is a conscious tendency to cater to Western cultural hegemony.  In the increasingly frequent cultural exchanges between East and West, we should deal correctly with Western cultures, and evaluate foreign cultures fairly.
*
Chen, Yongxiang (Guangzhou Univ, Schl. of Humanities and Social Sciences).  "The CCP and the left-wing film movement."  Historiography Anhui 2005-06, p.55-61.

【Abstract】In the 1930s, prompted by the Chinese Communist Party (CCP), the left-wing film movement was launched.  This renewed the atmosphere and energy of the film community.  Influenced by the progressive ideology, many actresses acquired a new look in the film activities, and won people's respect.
*
________.  "Rereading《Gold and Sand》.  Contemporary Cinema 2005-02, pp.83-87.  

【Abstract】A retrospective review of the 1936 film, from the Lianhua studio, written and directed by Wu Yonggang and co-starring Jin Yan and Zhang Zhizhi.
*
Chu, Ge.  "Lai Man-Wai:  father of Hong Kong cinema."  Movie Review 2005-04, p.94.

【Abstract】Brief review of the contributions of the "father of Hong Kong cinema" Lai Man-Wai [Mandarin:  Li Minwei].
*
Chu, Shuangye (China Communications Univ.).  "Historical narrative of an age:  analyzing the historically themed films of Zheng Junli."  Contemporary Cinema 2005-02, pp.44-49.

【Abstract】In the social context of the 1950s, with Chinese films dominated by economic themes and class struggle, director Zheng Junli, while keeping with the main trends of the day, did this by placing films in historical settings, in such films as《Song Jingshi》(1955),《Lin Zexu》(1959) and《Nie Erh》(1959) .
*
Ding, Yaping.  "Unscrambling Shen Fu's movies."  Contemporary Cinema no.3 (2005), pp.30-36.

【Abstract】The comedies of director Shen Fu (1905-1994) were products of his own temperament and personality, but the sense of the times did not destine him to become China's Chaplin.  The ups and downs in social standing of extraordinary people and civll society in his movies always gave attention to the value of human dignity and freedom, while still displaying the reality of everyday life.  The historical significance of Shen's work is in the "philosophy of hope" underlying them.
*
Dong, Yingchun.  "Reflections after viewing the film《Ruan Lingyu》."  Reading and Writing 2005-01, p.23.

【Abstract】A retrospective review of Stanley Kwan's 1992 semi-documentary biopic of the silent era star, considered in light of further historical research into her life and suicide.
*
Duan, Jinhu and Wang Xinfang .  "On 20th century popularization of Shuihuzhuan by movies and TV."  Journal of Hebei Institute of Architectural Science and Technology (Social Science edition) 2005-02, pp.52-54.

【Abstract】In addition to the traditional ways of spreading the classic Chinese novel Shuihuzhuan (Outlaws of the Marsh), such as printed text and drama, the 20th century has added such new ways as movies, TV and the internet.  These new media have deeply influenced the speed and degree of popularization of Shuihuzhuan.  This paper looks at the enormous role played in this by movies and TV, and then sketches the acceptance and spreading history of the outlaw saga from this specific angle.
*
Duan, Yundong (College of Fine Arts, Nanjing Normal University).  "The blending of metaphor and imagination:《Maiden in Armour》."  Contemporary Cinema 2005-03, pp.59-61.

【Abstract】A modern re-reading of the 1939 version of the Hua Mulan legend, starring Nancy Chan (Chen Yunshang).
*
Fan, Zhizhong (Inst. of Radio, Film and TV, Zhejiang Univ.).  "Wushu movies in a technical era."  Contemporary Cinema no.2 (2005), pp.130-131.

【Abstract】The aesthetic characteristics of film and video in the technological era have driven the popularity of high input, high technology and high production martial arts film and video productions.  The marial arts films of Zhang Yimou are representative of this trend, not only reflecting all the benefits the techological era provides, but also exposing their lack of humane consideration, a fatal flaw.
*
Feng, Qun (Wuyi Univ., Dept. of Chinese).  "Li Minwei:  pioneer of early Chinese literary film."  Journal of Beijing Film Academy 2005-02, pp.30-35.

【Abstract】In the silent era of the 1920s, Li Minwei (1892-1953) was an enthusiastic creator of literary films.  But he was also a legendary revolutionary, and probably the first Chinese combat photographer.
*
Gao, Shan.  "Political context - cultural inquiry - fractured personality:  a rereading of 《Between a Couple》[1951]."  Contemporary Cinema 2005-02, pp57-62.
*
Gao, Xiaojian.  "Rereading《New and Old Shanghai》."  Contemporary Cinema 2005-03, pp.55-58.

【Abstract】A retrospective analysis of the 1936 classic, written by Hong Shen and directed by Cheng Bugao.
*
Guo, Dongtian.  "The need for a perceptive film history--thoughts on China's movie centernnial."  Film Art 2005-01, p.94.

【Abstract】Brief remarks calling for more translation into foreign languages of the huge output of Chinese film history research.
*
He, Chungeng (College of Journalism and Communication, Hunan Univ.).  "On the creation and development of the film art of Chinese ethic plots."  Journal of Xiangtan University (Philosophy and Social Sciences) 2005-05, pp.31-35.

【Abstract】In the 1920s Zheng Zhengqiu originated the family/ethic plots screenplay.  During the 1930s and 1940s, Cai Chusheng carried this a step further by combining social criticism with everyday stories, creating the social/ethic plots screenplay.  In the era from the 1960s through the 1980s, Xie Jin added political reconsideration and tales of moral lessons to develop a new stage.
*
He, Xiaowei.  "The so-called 'Sixth Generation'"  Popular Cinema 2005-12, p.13.

【Abstract】When Wang Xiaoshuai"s 《Shanghai Dreams》was entered into competition at Cannes, many Chinese movie observers cheered what they thought would be the beginning of another era of outstanding achievement, that the "Sixth Generation" would become the future of Chinese cinema, and attain the level of achievement of the "Fifth Generation."  The "Sixth Generation" refers to the group of young directors, most of them born in the 1960s, who began making their name in the 1990s.   However, most of the newcomers' output to date has been mixed at best artistically and largely disappointing at the box office.
*
Hu, Shangyuan (Dept. of the History of the Chinese Communist Party, Party School of the Central Committee of the Chinese Communist Party, Beijing).  "Criticism of《The Life of Wu Xun》at the beginning of the foundation of China."  Anhui Historiography 2005-02, pp.77-82.

【Abstract】Made shortly after the founding of the PRC,《The Life of Wu Xun》[1950]was an inspirational biopic about a 19th century peasant who, denied any opportunity for an education, saved his earnings as a traveling clown to establish a school for poor children.  A major production directed by Sun Yu and starring Zhao Dan, the film was subjected to a virulent political attack, beginning with an editorial in the People's Daily, and reportedly on orders from Mao Zedong himself.  This article looks at the three stages of the critical movement, particularly the role played by historians in the latter two stages.
*
Jia, Leilei (Inst. of Film and TV, Chinese Academy of Art, Beijing).  "Chinese martial arts movies and religious ethics."  Journal of Southwest China Normal University (Humanities and Social Sciences Edition) 2005-03, pp.152-155.

【Abstract】Unlike those of Hollywood, Chinese martial arts movies traditionally have maintained a dualistic and often contradictory narrative structure.  Because of religious involvement, a "third power" has emerged in the narrative system of Chinese movies, which has altered the dualistic structure, and changed the spirit of the the martial arts film genre.  Religious ethics are skillfully blended into the plot narrative with justice, ethics and moral strength, so that the spirit of martial arts film culture is reflected in a way that is unique in world movie history.
*
Jian, Ping.  "China's early film schools."  Popular Cinema 2005-7, p.43.
*
Jiang, Ping.  "They were resistance heroes:  a record of patriotic filmmakers (1)."  Film 2005-7, pp.8-10.
*
_________ .  "They were resistance heroes:  a record of patriotic filmmakers (2).  Film 2005-8, pp.12-14.  

【Abstract】Patriotic activities of movie community figures during WW2.  Among those noted here for their contributions are Li Lili, Gu Yelu, Wang Renmei, Ling Zifeng and Cui Wei.
*
Li, Daoxin (Dept. of Literature, Beijing Univ.).  "Construction of Chinese film culture history." Contemporary Cinema 2005-01, pp.34-38.
*
__________.  "From 《Children in Troubled Times》to 《Devils on the Doorstep》:  four major phases of Chinese film narrative."  Arts Criticism 2005-04, pp.38-42.

【Abstract】Examines four phases of Chinese films in which Japanese aggression was a factor, ranging from implied, coercive threat to all-out invasion.  Among the individual films discussed are《Children in Troubled Times》(1935), 《Street Angels》(1937), 《800 Heroes》(1938),《Daughters of China》(1949),《The Bloody Battle of Taierzhuang》(1986) and《Devils at the Doorstep》(2001).
*
__________.  "Historical approach to Chinese and Shanghai films in the period of Japanese occupation."  Journal of Beijing Film Academy 2005-02, pp.1-9.

 【Abstract】Studies of motion pictures made in Shanghai and other areas of China during the Japanese occupation have proven to be an important means of approaching the history of Chinese films.  But ignoring or escaping this era, whether or not intentional, will be harmful to studies of Chinese film history.  It is the responsibility and task of every film historian to make fullest use of any obtainable written and visual materials so as to look further into the complicated and particular nature of Chinese films in the period of Japanese invasion and occupation.
*
__________.  "Seeking bright lights in the shadows:  on the spiritual tendencies and cultural significance of Shen Fu's early films."  Contemporary Cinema No.3 (2005), pp.37-42.

【Abstract】It was a consistent theme of early Chinese films to reflect directly the dark realities and ups and downs of life.  Careful analysis of the screenplays and scripts of later Chinese films shows how, under the influence of the May 4th movement, directors followed the May 4th movement's urging of intellectuals to "break through darkness in pursuit of light" and start thinking and re-experiencing the ups and down with more compassion.  This paper examines the achievements of director Shen Fu (1905-1994) in this aspect.
*
__________.  "Timeline of Shen Fu's life and film creations."  Contemporary Cinema 2005-03, p.50.
*
Li, Ding (China Film Art Research Center).  "Rereading《Crows and Sparrows》."  Contemporary Cinema 2005-02, pp.54-57.

【Abstract】A modern perspective on the 1949 classic.
* 
Li, Duobu.  "1913:  the Li brothers initiate Hong Kong films."  Publishing Research 2005-20, pp.22-23.

【Abstract】The making of《Zhuangzi Tests His Wife》.
*
Li, Ershi (Beijing Film Academy).  "What《Five Golden Flowers》means today."  Contemporary Cinema 2005-02, pp.91-93. 

【Abstract】A modern perspective on the very popular 1959 romantic comedy, and its significance for today's audiences.
*
Li, Jun.  "Looking back on 100 years of Chinese cinema."  Modern Chinese 2005-06, p.38.
*
Li, Ranran.  "What I remember of Zhao Dan."  Film Art 2005-05. pp.61-63.

【Abstract】Recollections of the 1930-1950s star.
*
Li, Shaobai.  (China Acad. of Art).  "Director Zheng Junli."  Contemporary Cinema 2005-02, p.37.

【Abstract】Profile of 1930s leading man Zheng Junli (1911-1969), particularly his later career as a writer/director. 
*
Li, Yang and Liu Lishi (Hebei Univ. College of Arts).  " "Looking at Fei Mu's directing characteristics from《Spring in a Small Town》Oriental Art 2005-06, pp.20-22.
*
Li, Youping.  "The Chinese screen fights back in a dangerous place -- Hong Kong movies during the War of Resistance."  Film 2005-08, pp.14-16.

【Abstract】Looks at the anti-Japanese film work of Shanghai directors Cai Chusheng, Situ Huimin and Tan Youliu from December, 1937 when they fled to Hong Kong, until the invasion of Hong Kong in December, 1941.
*
Liang, Hui'e and Zhang Jingqiong.  "Republican era Shanghai fashion from the pages of  《Liang You》magazine."  Art & Design 2001-01, pp.46-47.

【Abstract】Published from 1925-1945, the archives of the magazine《Liang You》良友 (Companion) today provides a valuable record of fashions and fashion accessories of Republican era Shanghai.  The magazine's illustrations frequently presented film stars of the day as models.
*
Liu, Hui and Fu Xiaohong (College of Film and TV, China Communications University).  "Analysis of the details and plot of 《Freedom of Heaven and Earth》."  Contemporary Cinema 2005-03, pp.46-49.

【Abstract】A modern reexamination of the 1937 Lianhua studio classic, directed by Shen Fu.
*
Liu, Juexin.  "A table of Chinese screen's resistance heroes."  Film 2005-08, pp.8-9.
*
Liu, Shu.  “Shattering the authenticity of Ruan Lingyu's suicide note."  Popular Cinema 2005-22, p.16.

【Abstract】Recounts the research that determined the actress's famous suicide note was a forgery.
*
_______.  "The red screen's 'transition' campaign."  Popular Cinema 2005-17, pp.48-53.

【Abstract】The founding of new China marked a great historical turning point in all aspects of Chinese art and culture, including motion pictures.  The guiding dicta were now "art and literature to serve the proletariat" and "literature and art for the workers, peasants and soldiers."  To promote these ideas, the characters in motion pictures now featured a large number of revolutionary heroes drawn from these classes.  However, those who had been famous movie stars in the old Shanghai film community, even though they had supported and welcomed the coming of the new regime, had to adapt to the demands of the new era.  They were called upon to conduct a thorough "transformation."  But how to "transition" to this new role?  For many stars, this was no less than undertaking a second, entirely different career.
*
Liu, Yibing (Beijing Film Acad. Dept. of Literature).  "A brief history of a century of Chinese screenwriting education."  Journal of Beijing Film Academy 2005-02, pp.89-92.
*
Lu, Yinghong (Hunan Institute of Science and Technology).  "One hundred years of Chinese movie songs."  Journal of Yunmeng 2005-03, pp.86-90.

【Abstract】Songs have been exotic flowers blooming in the garden of Chinese cinema.  As calls for national salvation, songs introduced in movies have shaken the Chinese nation and aroused the masses.  As popular art, movie songs have become lyric movements that people love deeply.  As part of our cultural inheritance, movie songs have added class, style and spirit.  Recreating this beautiful chapter in Chinese music is something we must deal with and accomplish
*
Mu, Deyuan.  "Looking at the future from history:  a casual talk on a century of Chinese cinematography education."  Journal of Beijing Film Academy, 2005-01, pp94-99.

【Abstract】One of a series of articles on film education published in the BFA Journal to celebrate the 2005 Chinese movie centennial.  The author of this entry in the series is Professor and Chairman of the BFA's Dept. of Cinematography.
*
Ni, Jun.  “In the name of love:  romance in Chinese movies, pt.1."  Popular Cinema no.2005-15, pp.40-41.

【Abstract】Regardless of how one defines love, it has always been an important element in movies.  Chinese films are no exception, and this three-part series examines the various portrayals of romance in Chinese motion pictures throughout history.  This first part of the series looks at the classic film era.  Among the films discussed are 《A Laborer's Love》(1922),《Crossroads》(1937) and 《Spring in a Small Town》(1949).
*
_______.  “In the name of love:  romance in Chinese movies, pt.2."  Popular Cinema no.2005-16, pp.56-57.

【Abstract】This second installation in a three-part series looks at "red love," during the "17 years," era, and the years immediately after the Cultural Revolution.  Among the films discussed are 《Youth in the Flame of War》(1959),《Red Detachment of Women》(1961),《Narrow Street》(1979), and 《Life》(1984).
*
_______.  “In the name of love:  romance in Chinese movies, pt.3."  Popular Cinema 2005-18, pp.56-57.

【Abstract】This final installation in a three-part series looks at Taiwan and Hong Kong romantic films, but unlike the first two parts, the emphasis is more on the directors and actors most associated with the romance genre, such as Maggie Cheung, Brigitte Lin and Wong Kar Wai.
*
_______.  "On- and off-screen martial arts masters, pt.1."  Popular Cinema 2005-03, pp.32-33.
【Abstract】First in a four-part series on martial arts filmmakers, this article discusses Zhang Shichuan, Wong Fei Hong, Sammo Hong and Chang Che.
*
_______.  "On- and off-screen martial arts masters, pt.2."  Popular Cinema no.4 (2004), pp.40-41.

【Abstract】This second installment in a four-part series discusses Tsui Hark, Jackie Chan and Jin Yong [Louis Cha].
*
_______.  "On- and off-screen martial arts masters, pt.3."  Popular Cinema no.5 (2005), pp.38-39.

【Abstract】The third in a four-part series discusses Bruce Lee, Ang Lee and Zhang Yimou.
*
_______.  "On- and off-screen martial arts masters, pt.4."  Popular Cinema no.6 (2005), pp.32-33.

【Abstract】The last in a four-part series discusses Stephen Chow and John Woo.
*
Ni, Jun and Song Li .  "A tale of love and hatred:  Russian images in Chinese films."  World Knowledge 2005-20, pp.26-28.
*
Ni, Jun and Zhang Chao.  "The imprint of history:  Japanese images in Chinese films."  World Knowledge 2005-20, pp.18-22.

【Abstract】Given the long history of conflict between the two countries, it is understandable that so many of the Japanese characters in Chinese movies are negative ones, often extremely so.  But there have been more humanistic portrayals of Japanese in Chinese films.
*
___________________.  "Three kinds of mentality, three kinds of images:  American images in Chinese films."  World Knowledge 2005-20, pp.22-25.
*
Nie, Wei (Inst. of Motion Picture and TV Art and Technology, Shanghai Univ.).  "Global elements - realistic details - symbols of hunger:  rereading the nodes of 《Myriad of Lights》."  Contemporary Cinema 2005-03, pp.43-46.

【Abstract】A modern perspective on the 1949 classic (aka《The Lights of Ten Thousand Homes》.
*
Peng, Li.  "Chinese film:  connections over a century."  China and World Cultural Exchange 2005-03, pp.16-21.

【Abstract】Superficial overview of the first 100 years of Chinese cinema.
*
Qian, Huakun.  "Evensong under the fireworks:  Ruan Lingyu's life song."  Film 2005-04, pp.66-67.

【Abstract】Sad reflections on the brilliant career and tragic fate of the great silent film actress.
*
Sha, Dan.  "Bai Yang's screen life."  Film 2005-03, pp.56-57.

【Abstract】Overview of the career of the actress Bai Yang (1920-1995).
*
Shao, Gongyu.  "Famous early movie star Wang Renmei."  Film 2005-11, pp.60-61.

【Abstract】Popular review of the movie career of Wang Renmei (1914-1987), star of such classics as 《Wild Rose》(1932),《Morning in the Metropolis》(1933) and《Song of the Fishermen》(1935).  Although most articles about Wang tend to highlight her two tempestuous marriages, the focus here is on her films.
*
Shi, Keyang .  "Images of intellectuals in Chinese films."  Tangdu Journal 2005-03, pp.98-102.

【Abstract】An analysis on images of intellectuals in Chinese films of the last hundred years indicates that intellectuals typically fall into four groups:  those who have great ambition in life; those who carry on traditional virtues of the Chinese nation; those who embody moral qualities of Chinese traditional culture; and those who rebel against Chinese traditional cuture.  An analysis on images of intellectuals in Chinese films of the last hundred years from the angle of culture not only summarizes images of intellectuals in films but also reveals their cultural implications.
*
Song, Qiang (School of Arts, Beijing Normal Univ.).  "Ba Jin and《Heroic Sons and Daughters》."  Journal of Henan University of Technology (Social Science).  2005-01, pp.38-40.

【Abstract】The mentality of Ba Jin (1894-2005) changed considerably after 1949.  He had begun to recognize the gap between writers from the areas liberated earlier and himself, so he struggled to join what had become the new ideological mainstream.  But it made most of his work insipid.  His novel "Reunion" was written in the early 1960s, when literary circumstances were comparatively free, and was his best post-1949 work.  The 1964 movie《Heroic Sons and Daughters》was adapted from "Reunion," but the leading roles and the content were changed greatly from that of the novel.
*
Sun, Hongyun.  "A movie pioneer:  Cai Chusheng."  Film 2005-04, n.p.

【Abstract】Popular overview of the career of the 1930s filmmaker, creator of such classics as《Morning in the Metropolis》(1933),《Song of the Fishermen》(1934),《New Women》(1935), and《Orphan Island Paradise》. 
*
Wang Chaoguang.  "American films in Shanghai in the first half of the 20th century."  Film Art 2006-05,

pp.37-41.

【Abstract】In the first half of the 20th century, American films occupied an important position in China's film market, while Shanghai had a major impact on that market, in such areas as artistic expression and technical production.  Much of Shanghai's urbanization process, its business, diversity, popular culture and consumption characteristics were formed by the entry of American films into the Shanghai market, and of course were to some degree influenced and shaped by them.
*
Wang, Fanghua.  "《Crossroads》: reflecting the romantic realism tradition of Chinese film."  Contemporary Cinema 2005-02, pp.87-90.

【Abstract】A retrospective look at the 1937 classic.  Through the experiences of four college friends,《Crossroads》examined the high rate of unemployment among college graduates, a serious problem of the time, and against this background one student's romance with a neighbor.
*
Wang, Nan.  "Four great leading ladies of resistance films." Film 2005-08, pp.10-11.

【Abstract】Overview of the representative works of four actresses noted for their portrayals of memorable characters in pre- and post-war anti-Japanese resistance movies.  The four actresses discussed are Zhang Ruifang (1918-    ), Qin Yi (1922-    ), Shu Xiuwen (1915-1969) and Bai Yang (1920-1996).
*
Weng Lifu and Wang Aimei.  “Celebrity photos of Shangguan Yunzhu."  Archives and Construction 2005-08, np.

【Abstract】Pictures taken at different times during the life and career of the actress (1920-1968), with a chronological review.
* 
Xia, Qiuyu.  "Ruan Lingyu:  death of a 'movie empress'."  Movie Review 2005-03, pp.24-25.

【Abstract】Cursory review of the film career and tragic last days of the silent diva.
*
Xian Xiaoyin (Changchun Film Studio, Writing Dept.).  "The ins and outs of《At Middle Age》.  Film Art 2005-01, pp.66-70.

【Abstract】The successful 1982 movie starring Pan Hong was adapted from feminist writer Chen Rong's popular 1980 novel.  But bringing it to the screen was not an easy task, due in no small part to internal conflicts among the film crew. 
*
___________.  "The twists and turns of filming《At Middle Age》.  Tong Gong Gongjin 2005-03, pp.26-29.

【Abstract】Covers much the same ground as the previous citation.
*
Xiao, Lu (East China Normal Univ., Coll. of Communications).  "Chinese language films:  an important medium for Sino-American cross culture."  Contemporary Cinema 2005-03, pp131-134.

【Abstract】The purpose of intercultural communications research is to promote exchanges and fusion between differernt cultures with the goal of understanding.  One of the more successful means of cross-cultural communications is the medium of film.  This paper traces the Chinese-American intercultural experience through film, starting in the early 20th century, from the famous playwright Xia Yan (1900-1995) up to the more recent works of Ang Lee.
*
Xin, Yifan.  "An overlooked Ruan Lingyu film:  'A Woman's Heart'."  Popular Cinema 2005-02, p44.

【Abstract】Most standard film references overlook this 1929 movie starring Ruan, made between the time she left Mingxing and before she joined Lianhua.  The author discusses the probable reasons for the omission.

*
__________.  "The dual music and movie careers of Bai Guang."  Popular Cinema 2005-07, p.45.

*
__________.  "The movie world in program notes."  Popular Cinema 2005-08, pp.44-45.

*_________.  "The movie world in program notes."  Popular Cinema 2005-09, pp.44-45.

【Abstract】The last two entries continue a series examining the program notes (说明书) for some classic films.  The films discussed in No.8 are Bu Wancang's《Love and Obligation》(1931) and《Love and Duty》(1938), and King Hu's《Cheers for the Teacher》(1944) and《Sorrow and Joy at Middle Age》(1949).  No.9 concentrates on《Along the Songari River》(1947). 
*
Zhang, Lifan.  "A private movie dream of the last century."  Yan Huang Chunfeng 2005-08, pp.48-55.

【Abstract】Discusses the progressive, reformist attitudes expressed in the films of the 1930s Lianhua studio and their similarities to those in the Kunlun studio's works immediately after WWII. 
*
Zhang, Wei (Shanghai Library).  "A rare set of photographs."  Publishing Research 2005-02, p.7.

【Abstract】In the winter of 1934, the two dominant Shanghai studios - Mingxing and Lianhua - temporarily set aside their rivalry and gathered their top actresses - Wang Renmei, Ruan Lingyu, Hu Die, Xu Lai, Yuan Meiyun, Chen Yanyan, Ye Qiuxin and Li Minghui - for a joint photo session that each studio could use in its publicity.  This set of photos still exists in the Shanghai Library.
*
Zhao, Chunxia  .  "Comparing Sun Yu and Cai Chusheng."  Journal of Shandong Normal University 2006, pp34-35, 63.

【Abstract】Sun Yu (1900-1990) and Cai Chusheng (1906-1968) were outstanding representatives of China's second generation of directors.  Each made indelible contributions to the development of Chinese cinema, but their films had distinctly different characteristics.
*
Zhao, Shiku.  "The 'Empress of Film' commemorative volume."  Popular Cinema 2005-05, pp.44-45.

【Abstract】Examines, and reproduces illustrations from, a souvenir volume published by the Mingxing studio in 1934 to celebrate their top star Hu Die's election to the title of "Empress."
*
Zhao, Shihui.  "The forgotten《Gold City Monthly》."  Popular Cinema 2005-04, p.45. 

【Abstract】Examines the too-often overlooked historical content of a well-illustrated movie magazine of the late 1930s.
*
_________.  "The story of 《Qingqing Dianying》."  Popular Cinema 2005-01, p.45.

【Abstract】《Qingqing Dianying》(literally, "Green Movies") was a popular film magazine published from April 1934 through October 1951.  It's 240 issues are a valuable resource for the film historian.
*
Zhao, Xiaoqing.  "Women's images in left-wing films."  Contemporary Cinema 2005-05, pp.40-44.

 【Abstract】The left-wing film movement peaked in the 1930s, and as a social and artistic phenomenon provided the impetus in several areas:  political change, cultural trends, social trends, and cinematic scientific and technical innovation.  But the Nationalist government's policy toward Japan curtailed left-wing filmmakers' ability to make films with anti-imperialist themes.  So filmmakers turned to "stealth" methods to work around this, one of which was the creation of very distinctive left-wing female characters.
*
Zu, Dingyuan.  "Remembering Zhou Xuan at the movie centennial."  Zhongshan Storms 2005-05, p.54. 

Chinese Film History Studies 2004

This is a bibliography of Chinese language film history studies published in 2004.  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.  Links are to previous related CM articles.

Books:

Guo, Hua.  Old Moviedom, 1905-1949.  Hefei:  Anhui Educational Publishing House, 2004.  ISBN 7-5336-3951-0.
--31 essays on China's classic film era in chronological order, which taken as a whole constitute a history of the era.  First of a three-part series.  Parts 2 and 3 were originally published in 1998 as a 2-part set by the China Film Press.
* 
________.  Old Movies, 1905-1949.  Hefei:  Anhui Educational Publishing House, 2004.  
--Brief summaries of 161 major films of the classical era.  Second of a three-part series.
*
________.  Old Movie Stars, 1905-1949.  Hefei:  Anhui Educational Publishing House, 2004.  --53 essays profiling stars of the classical era.  Third of a three-part series.
*
Li, Daoxin.  Structure of Chinese Film Historiography.  Beijing:  China Broadcasting and TV Press, 2004.  ISBN 7504342920.
*
Ni, Jun.  History of Chinese Movies.  Beijing:  China Film Press, 2004.  ISBN 7-106-02096-6. 
--Film studies textbook.
*
Nie, Er.  Nie Er's Diary.  Zhengzhou:  Elephant Press, 2004.
*
Yuan, Xiaobo and Zhang Lei.  Old Movies 1930-1949.  Shanghai:  Shanghai Ancient Books Press, 2004.  ISBN 7-5325-3763-3.
--Coffee-table book covering Hollywood as well as Chinese films and stars during the title era.  Also theaters, film posters, ads, etc.  More studio ports than movie stills.  Good source of Chinese names of Western film stars.
*
Zhang, Wei.  Old Movie Matters:  an alternate view of China's classic film era.  Shanghai Dictionary Press, 2004.  ISBN 7-5326-1592-8.
--Collected articles on a wide variety of topics in Chinese film history.
*
Zou, Hong.  A Course in Movie and Television Literature.  Beijing:  China People's Publishing House, 2004.  ISBN 7300050328.
--Textbook on film and TV screenplays, covering plots, editing, characterization, adapting from other sources, etc.  Two chapters trace the history of each type of script.

Articles

Cai, Hongsheng (China Film Art Research Center), comp.  "Chronology of the life and career of Cai Chusheng."  Contemporary Cinema 2004-02, pp.35-36.
*
_____________.  "Master of miracles -- the creative path of Cai Chusheng."  Contemporary Cinema 2004-04, pp.16-22.
*
Chen, Zhi.  "《Farmers' Spring》was actually China's first international award-winning film."  Film Art 2004-04, p.109.

【Abstract】In this article, originally published in 1996, the author presents much the same argument as that in the Sun Jiansan article (q.v.).
*
________.  "More on《Farmers' Spring》as the first international award winner."  Film Art 2004-03, pp.106, 96.

【Abstract】Reiterates his agreement with Sun Jiansan's contention that this film won its award before《Song of the Fishermen》.
*
Ding, Yaping  .  "How movies give an expression to the world -- Chinese film and Cai Chusheng."  Contemporary Cinema 2004-04, pp.23-28.

【Abstract】Cai Chusheng (1906-1968) was a representative historical figure in China's movie society.  From 1932's《Springtime in the South》and《Pink Dream》to《Song of the Fishermen》(1934) and《A Spring River Flows East》(1948), his cinema creations strove to give audiences an intense, mutli-faceted motion picture experience, and his films rank among the finest creations of China's first "Golden Age."
*
Feng, Wenyou.  "Movies on cigarette cards."  Popular Cinema 2004-03, pp.44-45.

【Abstract】For many Chinese people of a certain age, mention of some old cigarette brands brings back movie memories from their childhood, when film stars' photos were often an advertising feature.
*
Fu, Xiaohong.  "Rereading 《Twin Sisters》.  Contemporary Cinema 2004-02, pp.37-39.
*
Gao, Xiaojian (China Academy of Arts).  "Re-examining Chinese film history since the founding of New China."  Contemporary Cinema 2004-01, pp.51-55.

【Abstract】Reviews the development of the film history discipline since 1949.
*
Gu, Yubao.  "70 years of 'March of the Volunteers'.  Fujian Party History Monthly 2004-05, np.

【Abstract】Brief article on the background and evolution of the song that became China's national anthem.
*
Guo, Ping (College of Foreign Languages, Wuhan Univ. of Science and Technology).  "On translation of English films."  Journal of Wuhan University of Science and Technology) 2004-03, pp.88-91.

【Abstract】Analyzes the characteristics of and constraints on film translation from English into Chinese, using popular dialogues in the film《Gone with the Wind》as examples.  ("As God is my witness ...")
*
Han, Ximing (Nanjing Coll. of Accounting).  "On Fei Mu's opinion of movies and its influence on Chinese movies."  Journal of Jiangsu Radio & Television University v.15, no.5 (2004), pp.52-54.
*
He, Chungeng (College of Journalism and Media, Hunan University).  "The evolutionary track of Chinese ethic plot film creation--from Zheng Zhengqiu to Cai Chusheng to Xie Jin."  Journal of Hunan University (Social Sciences) v.18, no.1 (2004), pp.74-78.

【Abstract】There were three steps in the creation of Chinese ethic plot films:  in the 1920s, Zheng Zhengqiu made family/ethic plot films and established a direction for filmmaking, combining entertainment and education; during the 1930s and 1940s, Cai Chusheng made social/ethic plot films combining objective depictions of social reality and dramatic stories of everyday life; in the 1950s and 1980s Xie Jin made political/ethic plot films, reconsidering tales of moral lessons to express a series of criticisms of political movements.
*
Huang, Baofeng (Arts and Media College, Beijing Normal University).  "One hundred years of women's images in Chinese film."  Journal of Hunan Mass Media Vocational Technical College 2004-01 pp.74-77.

【Abstract】Through investigation of women's film images in different historical periods and discussion of women's relationships in politics, economics, and culture, this paper tries to show the relationship between women and the Chinese cultural tradition and to sum up the prevailing rules of women's existence and development in those periods.
*
Huang, Huilin (College of Arts and Media, Beijing Normal Univ.).  "Early Chinese movies and movie audiences--a brief analysis."  Contemporary Cinema 2004-02, pp.119-122.

【Abstract】 In tracing the development of Chinese cinema from 1905, along with the films' form and content, there is another indispensable element:  their audience.  In a certain sense, it was precisely the vast audience's likes and dislikes which determined whether a film lived or died.  The three high tide eras of Chinese cinema that emerged (the 30s and 40s, the 50s and 60s, and the 80s and 90s), all owed their success to massive audience and acceptance of the films produced in those eras, and therefore forming distinct proof of their strong societal and outstanding economic contributions.  A careful consultation of historical materials on Chinese film history discovered that by thoroughly examining these three high tide eras, they can be classified and discussed as the "early," "middle" and "later" periods.  This paper is primarily an analysis of the films and audiences of the "early" period.
*
Li, Daoxin (College of Arts, Beijing Univ.).  "Chronology of the life and career of Zheng Zhengqiu."  Contemporary Cinema 2004-02, pp.40-41.
*
_________.  "Early Chinese comedy films as a genre (I)" Journal of Hainan Normal University (Social Sciences) 2004-02, pp.101-105.
*
_________.  "Early Chinese comedy films as a genre (II)" Journal of Hainan Normal University (Social Sciences) 2004-03, pp.100-103.

【Abstract】Focusing on early Chinese comic films, this paper attempts a thorough and systematic analysis of the development of Chinese comic films from 1905 to 1949, probing into the genre consciousness, marketing strategies, artistic traits and cultural implications of early Chinese comic film.  Against the background of China's distinctive politics, military affairs, economy and culture in the early 20th century and under the impact of western comic films (represented by those of France and Hollywood), early Chinese comic films went through their development from naivete to maturity.
*
__________.  "From the 'Orphan Island' into the world:  Xie Jin and the Chinese film tradition."  Fujian Arts 2004-05, pp.16-19.
*
Li, Suyuan (China Film Art Research Center, China Film Archive).  "Suggested names for the 1930s movie era."  Contemporary Cinema 2004-01, pp.39-43.
*
Liu, Shu.  "Jin Yan:  on the art and passion of the 'Emperor of Film'."  Popular Cinema 2004-22, pp.48-51.

【Abstract】Comprehensive review of the life and career of China's 1930s matinee idol and 1950s character actor.  Well-illustrated with on- and off-screen photos taken at various times in his life.
*
_______.  "The tragic life and death of Shangguan Yunzhu."  Popular Cinema 2004-10, pp.48-53.

【Abstract】Comprehensive at the life and career of popular stage and screen actress Shangguan Yunzhu (1920-1968), whose life ended tragically during the Cultural Revolution.
*
Long, Jin.  "Early Chinese movie business types and management models."  Film Art 2004-04, pp.31-38.
*
Long, Xianzhe.  "The pioneer of China's early motion pictures:  on the film creations of Zheng Zhengqiu."  Journal of Guizhou University (Arts edition) 2004-02, pp.51-54. 

【Abstract】Zheng Zhengqiu (1889-1935) was the founder of the Chinese national cinema.  His film creations were founded on the ideas of reformism, especially dealing with women's issues.   The essential content of his works were protests against feudalism and its evils.  Zheng paid great attention to the unity of ideology, artistry and commerciality.
*
Lu, Ming.  "My reading of《Spring in a Small Town》.  Fujian Arts 2004-05, pp.52-53.
*
Luo, Sumin (Guangzhou Cty Land Resources and Housing Authority).  "The CPC and the film cultural movement of the 1930s."  Journal of Guangzhou Institute of Socialism 2004-04, pp.48-51.

【Abstract】The Chinese Film Culture Association was established in the 1930s to support and further the objectives of the film culture movement.  This paper discusses the role of the Communist Party of China in the Association.
*
Ma, Changlin.  "Historical materials on 1930s left-wing films."  Archives and History 2004-03, pp.40-48.
*
Ma, Zhi.  "Xie Fang:  a fruitful life in art."  Popular Cinema no.12 (2004), pp. 48-53.

【Abstract】A biographic profile of the popular star of such modern classics as 《Song of Youth》, 《Early Spring》and 《Stage Sisters》, and whose film, stage and TV career has spanned half a  century.
*
"My memories of Chen Yunshang [Nancy Chan]."  Popular Cinema 2004-20, p.45.

【Abstract】Letters sent in response to an editoral invitation, in which several readers of China's widest circulation movie magazine share their memories of a favorite star of the 1940s and 50s.
*
Ni, Jun (Dept. of Television Arts, Central Academy of Drama).  "The 10 most influential actors and actresses in Chinese movie history.  Pt.1:  the actors."  Popular Cinema 2004-07, pp.34-37.

【Abstract】In order, the author lists:  1: Jin Yan (1910-1983); 2: Zhao Dan (1915-1980); 3: Shi Hui (1915-1957); 4: Sun Daolin (1921-2007); 5: Wang Xiaogang (1932-    ); 6: Li Xiaolong [Bruce Lee] (1940-1973); 7: Cheng Long [Jacky Chan] (1954-    ); 8: Jiang Wen (1963-    ); 9: Ge You (1957-    ); 10: Zhang Guorong [Leslie Cheung] (1956-2003).  In brief essays on each, the author details the reasons for her choices.
*
_______.  "The 10 most influential actors and actresses in Chinese movie history.  Pt.2:  the actresses."  Popular Cinema 2004-18, pp.34-36.

【Abstract】 In order, the author lists:  1: Ruan Lingyu (1910-1935); 2: Hu Die (1907-1989); 3: Bai Yang (1920-1997); 4: Shangguan Yunzhu (1922-1968); 5: Zhou Xuan (1920-1957); 6: Qin Yi (1922-   ); 7: Liu Xiaoqing (1951-   ); 8:  Lin Qingxia [Brigitte Lin] (1954-    ); 9: Gong Li (1965-    ); 10: Zhang Manyu [Maggie Cheung] (1964-    ).  In brief essays on each, the author details the reasons for her choices.
*
_______.  "The 10 most influential films in Chinese movie history."  Popular Cinema 2004-11, pp.40-43.

【Abstract】In order, the author lists:  1:《Goddess》 (1934); 2:《The Big Road》(1935); 3:《A Spring River Flows East》(1947); 4:《Spring in a Small Town》(1948); 5:《Little Soldier Bing Ga》(1963); 6:《Hibiscus Town》(1986); 7 (tie):《Yellow Earth》(1984), and《Farewell to my Concubine》(1993); 8:《Days of Being Wild》(1990); 9:《Crouching Tiger, Hidden Dragon》(2000); 10:《Hero》(2000).   In brief essays on each, the author details the reasons for her choices.
*
Peng, Yaochun (Jiangsu Police Academy, Nanjing).  "On the 'New movie concept' proposed by Fei Mu."  Journal of Huaiyin Teachers College (Social Science) v.26, no. 5, (2004) pp.692-696.
*
_____________.  "On left-wing movie theories."  Journal of Huaiyin Teachers College (Social Science), 2004-01, pp113-117.

【Abstract】Left-wing movie producers strove to coalesce the three areas of movie direction, movie commentary and movie theoretical writing into left-wing movie theory, and thereby brought fundamental changes to Chinese movies in terms of ideas, story writing, direction, performance and production. 
*
Shen, Zhiyuan.  "The origins of 《Red Detachment of Women》.  Popular Cinema 2004-24, pp.40-41.  

【Abstract】At the first Hundred Flowers Awards,《Red Detachment of Women》, filmed in 1962 by Shanghai's Tianma Film Studio, won for Best Feature Film, Best Director, Best Actress and Best Supporting Actor.  It marked the artistic maturity of its writer/director Xie Jin (1923-2008).  In the 1970s it was made into a film ballet (performed before and then an opera.  The former, one of the "eight model operas" of the Cultural Revolution, has been shown countless times since (including before President Nixon during his historic 1972 visit to China).  This article looks at the origins of the story behind the source material.
*
Shen, Zhiyuan and Wei Chunqiao.  "《Early Spring in February》:  the whole story of its birth."  Popular Cinema 2004-23, pp.42-43.

【Abstract】Although it was adapted from a novella considered a classic representation of the ideals of the May 4th movement, this 1963 film was attacked as a "textbook example of what [China's] national cinema should not be, and as such should be criticized by all the people."  What most hurt the movie's writer/director Xie Tieli (1925-    ) was learning that the orders to attack his film came from the highest level of the government and the CPC -- Mao Zedong himself.
*
Shi, Chuan.  "Audience demands and China's movie system during the '17 years' period'."  Film Art 2004-04, pp.49-54.

--The "17 years" is the term Chinese film historians use in referring to the interval between the founding of the People's Republic in 1949 and the onset of the Cultural Revolution, just at a time China appeared on the verge of a new Golden Age of filmmaking.
*
Shu, Ping.   "《Raging Torrent》-- the first left-wing film."  Popular Cinema 2004-06, p.45.

【Abstract】In addition to dramatic scenes created for the movie, this film employed actual newsreel footage of horrific flooding in Hankou to expose and criticize ills in Chinese society.
*
_________.  "The great Chinese detective 'Charlie Chan'."  Popular Cinema 2004-20, pp.44-45.

【Abstract】Discusses how well-received the Chan films were in China.  Covers much the same ground as The Chinese Mirror's own article on the topic, although it was not used as a source for that piece.
*
Song, Jie.  "Director Wang Bin and the film《White-Haired Girl》".  Film Art 2004-06, pp.93-95. 

*
Sun, Jiansan.  "China's first international award-winning film: 《Farmers' Spring》."  Film Art 2004-02, pp.98-99.  

【Abstract】 Presents evidence that the first Chinese film to be honored with a foreign award was this 1935 production, and not《Song of the Fishermen》, commonly recognized as the first.  This article touched off an academic brouhaha.  (See Zhu Tianwei article at end of this bibliography.)
*
Tong, Yabian.  "China's early juvenile film stars."  Popular Cinema 2004-12, pp.42-43.  

【Abstract】Since the early 1920s, child actors have played important roles in many Chinese movies. This article, which was a major source for The Chinese Mirror's article on the subject, profiles some of these young stars.
*
Wang, Haiwei (MA, 2000, Dept. of Art, Beijing University).  "The political economics of romance:  clues to interpreting 《A Laborer's Love》."  Contemporary Cinema 2004-02, pp.34-37.
*
Wang, Jiaquan (Teachers' Humanities Coll. of Beihua Univ., Jilin).  "Chinese 'scholar films' and European-American 'writer films'.  Journal of Beihua University (Social Sciences) 2004-05, pp.14-17.
*
Wang, Jing ((China University of Mining and Technology)).  "A Study on the Translation of Movie Titles."  Journal of Jindongnan Teachers College 2004-03, pp.53-55.

【Abstract】Movies are generally acknowledged to be an art form loved by the people.  As the world becomes increasingly smaller, communication via movies among countries worldwide has accelerated. The U.S., specifically Hollywood, has become symbolic of movies.  With more and more foreign movies imported, how to make the translated titles of movies better understood and accepted by audiences becomes a topic for study.  When translating movie titles, cultural and commercial factors should be taken into account, and the translated titles should be concise and faithful to the original one.  The usual ways of translating are:  literal translation, literal translation with notes, transliteration, free translation, or a combination of literal and free translation.
*
Xin, Yifan.  "The first fantasy film:《The Old Man in the Moon Divorces》.  Popular Cinema 2004-05, p.45. 

【Abstract】A look back at the 1927 fantasy, directed by Hou Yao and starring early comic Zhou Kongkong.
*
________.  "The movie world in program notes."  Popular Cinema 2004-22, p.45.

________.  "The movie world in program notes."  Popular Cinema 2004-23, p.45.

________.  "The movie world in program notes."  Popular Cinema 2004-24, p.45.

【Abstract】In a three-part article, the author discusses the "shuomingshu"《说明书》["program notes" or "playbills"] issued in conjunction with films distributed in China.  The author examined over 20 years of program notes on old domestic and foreign films, and 1000 special issues of [studio-issued] magazines.  Part 1 explains this resource in general, while parts 2 and 3 discuss the specific program notes for two silent films,《Swordswoman Li Feifei》(1925) and《Lonely Orchid》(1926).
*
Yan, Shukai.  "Cartoonist Wang Zimei's 'Lianhua' stars' caricatures."  Popular Cinema 2004-11, p.45.

【Abstract】In 1935, in conjunction with the release of the Lianhua studio's production of《Song of China》, well-known cartoonist Wang Zimei 汪子美 (1913-2002) created a series of caricatures presenting the studio's stars as famous figures from Chinese history, myth and legend.  This article discusses the series and the background to its creation.
*
Yang, Hongling.  "Xia Yan forever."  Film no.12 (2004), pp.50-52.

【Abstract】Overview of the film work of the 20th Century writer Xia Yan (1900-1995), with emphasis on his screen contributions.
*
Yang, Shaowei (Editorial Dept., Newspaper of Henan Institute of Education, Zhengzhou, China).  "The Fable Features in Zhang Yimou’s Films."  Journal of Henan Institute of Education (Philosophy and Social Sciences) 2004-02, pp.42-44.
*
Yang, Yuanying (Film Research Institute, Beijing Film Academy).  "Zheng Zhengqiu:  the social ethics model."  Contemporary Cinema 2004-02, pp.26-28.

【Abstract】While Zheng Zhengqiu's output of original screenplays was not great in number, and his directing efforts even fewer, he pioneered in putting popular family melodramas at the core of early Chinese movies.  His films investigated the various status of individuals within families, father and son, mother and son, husband and wife, siblings, etc., and by putting these familial relationships and conflicts within the framework of his plays he educated the public about China's social issues in the 1920s and 30s.  This article explores these issues through four of Zheng's films: 《A Couple in Difficulty》(1913), 《A Laborer's Love》(1922),《An Orphan Saves his Grandfather》(1923) and《Twin Sisters》(1934).
*
Yi, Lian.  "My movie star postcards."  Popular Cinema 2004-13, pp.44-45.

【Abstract】With the parallel emergence and development of the postal service and the film industry, post cards featuring movie stars  became a popular form of communication during China's classical film era, and eventually a collectible.  The author shares and discusses his own collection in this article.
*
Yu, Ji.  “The origin, development and evaluation of the aesthetics of early Chinese screenplays."  Film Art no.3 (2004), pp.82-85.

【Abstract】Modern Chinese theater has been most fortunate in having not only such Western dramatists as Shakespeare and Ibsen to draw on for material, but also the 800-year legacy of a rich domestic theatrical tradition starting from the Yuan Dynasty.  In contrast, China filmmakers were not so lucky.  Motion pictures were a purely imported commodity backed by capitalist investment, production and marketing, while Chinese film art lacked any aesthetic foundation or competitive force in the international market, dual pressures restricting our films' growth.
*
Zeng, Tianli, et al.  "The evolution of a century of Chinese movie music."  Film Art 2004-03, pp.37-42.
*
Zhao, Shihui.  "A set of old photos of Zhao Dan:  commemorating the 20th anniversary of Zhao Dan's death."  Popular Cinema 2004-09, np.

【Abstract】While these photos of actor Zhao Dan (1915-1980) are not rare, and often reproduced, the author of this article annotates them to point out their value to the historical researcher.
*
__________.  "Aftermath of the《Denton Gazette》."  Popular Cinema 2004-18, p.44.

【Abstract】Overview of the content and publication of the popular 1930s movie magazine.
*
__________.  "Commemorative volume on the movie empress."  Popular Cinema 2004-05, pp.44-45.

【Abstract】To celebrate it's top star Hu Die's election as the "Empress of Movies," the Mingxing (Star) studio published a commemorative volume containing various articles and photos celebrating the occasion.  This article discusses the volume's content and assesses its value for the historical researcher.
*
__________.  "Four pictorial biographies of Chen Yunshang."  Popular Cinema 2004-16, p.45.

【Abstract】Collective retro review of four pictorial bios of Chen Yunshang [aka Nancy Chan, aka Chan Wan-seung] (1919-    ), popular star of 1930s-50s Shanghai and later Hong Kong movies.  

*
__________.  "Historical movie anecdotes in 《Filmdom in China》."  Popular Cinema 2004-21, p.44.

【Abstract】Relates several anecdotes of historical interest found in a 1920s movie magazine.
*
___________.   "Overview of Chinese Movie Stars 1905-1949."  Popular Cinema 2004-12, p.44.

【Abstract】Retro review of the 1989 pictorial publication, a valuable source of rare illustrations from the classical era.
*
___________.  "Photo Album of China's Movie Actresses".  Popular Cinema 2004-09, p.45.

【Abstract】In 1935, the publisher of the movie magazine Film Pictorial published eight special volumes of photos of the top actresses of the day.  Those so honored were:  the Mingxing studio's Hu Die and Xu Lai; Lianhua's Ruan Lingyu, Chen Yanyan and Wang Renmei; Tianyi's Ye Qiuxin; and Yihua's Li Minghui and Yuan Meiyun.  This article discusses the publications' content, and assesses their value for today's researcher.
*
Zheng, Jian and Yang Jianhua.  "Image, Modern and Nation -- about Fei Mu's Films and 《Spring in a Small Town》."  Journal of Hunan University (Social Sciences) 2004-01, pp.79-82.

【Abstract】Fei Mu's films and his signature piece《Spring in a Small Town》(1948) provide important clues to understanding Chinese film history.  His films can be analyzed to show such relationships as film with ideology, national states with the intellectual, film with urban society, Chinese films with foreign, etc.
*
Zhu, Tianwei.  "《Song of the Fisherman》:  China's first international award-winning film.--refuting "China's first international award-winning film:   《The Farmers' Spring》."  Film Art no.3 (2004), pp.102-108.

【Abstract】Attempts to refute the argument presented by Sun Jiansan (above) as to which Chinese film was the first to be honored with an international award. 

Chinese Film History Studies 2003

This is a bibliography of Chinese language film history studies published in 2003.  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.  Links are to other relevant CM articles.

Books:

Fang, Fang.  History of Chinese Documentary Film.  Beijing:  China Theatrical Press, 2003.  ISBN 7104018603.

Han, Wei and Chen Xiaoyun.  History of Movies in New China:  Chinese film since 1949.  Hangzhou:  Zhejiang University Press, 2003.  ISBN 7-308-03244-2.

--Popular history, based on Chinese and Western secondary sources.

Lu, Haibo.  Glance Over Famous Chinese Movies.  Chengdu:  Sichuan Literature and Arts Press, 2003.  ISBN ISBN: 7-5411-2160-6.

--A study guide in Chinese film appreciation:  99 significant and still-extant mainland, Hong Kong and Taiwan films are broken down as to background, plot summary, and experts' suggestions on what to look for when viewing. 

Lu, Qiangshi, et al., eds.  The Movie Reserves of Shi Dongshan.  2v.  Beijing:  China Film Press, 2003.  ISBN 7-106-01936-4.

--A festschrift to commemorate the centennial of the 1920s-40s writer/director (1902-1955).  Many of the papers included are from Shi's own prolific writings. 

Articles:

Chu, Weihua (China Youth Politics Inst., Dept. of News and Dissemination).  "Analysis of the historical origins of Chinese urban films."  Tangdu Journal v.19, no.2 (2003), pp.80-83.

【Abstract】Chinese urban films have been characterized by their popular nature.  Studies of their historical origins indicate the close relationship of urban films and popular literary works.  Audiences' great affection for popular films and television programs indicate their great interest in urban life.  By analyzing the historical relationship between Chinese urban films and popular literary works, the author stresses the importance of popular ideas, popular awareness and popular spirit to the creation of Chinese urban films.
*
Dai, Tieshan.  "Mao Zedong and Wang Renmei's family."  Century 2003-06, pp.54.

【Abstract】In July, 1957, a forum on the arts was held in Shanghai, attended by many famous people from the film community.  Also among the attendees was Chairman Mao Zedong, who spoke enthusiastically about the father of actress Wang Renmei, a teacher he had known when Mao was a young revolutionary.  In his remarks, Mao mentioned the actress and asked if she was in attendance.  This brief paper looks back at the Mao-elder Wang relationship.
*
Gong, Yan and Zhao Shihui.  "Xu Lai's antemortem and postmortem -- a tribute on the 30th anniversary of Xu Lai's death."  Popular Cinema 2003-11, pp.38-39.

【Abstract】Xu Lai (1909-1973) was one of China's top movie stars in the 1930s, referred to in the press as "the standard beauty."  She married a former Nationalist Chinese army general, and after World War II the couple moved with their children to Hong Kong.  In the 1950s they moved back to Beijing, which ultimately proved disastrous:  both were imprisoned during the Cultural Revolution, and Xu Lai died in confinement after years of torture and mistreatment. 
*
Gu, Yu.  "Film star Ruan Lingyu's suicide incident."  Across Time and Space 2003-05, pp.20-22.

【Abstract】Reviews the events leading up to the silent star's 1935 suicide.
*
Jiao, Su'e (Xinyang Normal Univ, Dept. of Language and Literature).  "Conflict and fusion:  the nationalization process of Chinese early movies."  Journal of Xinyang Teachers College v.23, no.2 (2003), pp.97-101.

【Abstract】Chinese movies emerged from viewing foreign movies.  Initiated and influenced by foreign movies, Chinese cinema developed from short films to long films, from imitation to creation. In the conflict between Chinese culture and Western culture, nourished by Chinese traditional culture.  The movie, an art form of foreign origin, gradually achieved naturalization and nationalization, and flourished in China.
*
Li, Daoxin (Beijing Univ., Coll. of Arts).  "Early Chinese film history:  import and exploration of genre study."  Journal of Beijing Film Academy 2003-02, pp.27-35, 74.

【Abstract】This article discusses the feasibility and necessity of importing genre study while studying early Chinese film history, analyzes the history and current status of these studies, then outlines the background from which early Chinese film genres came.  The conclusions are as follows:  acquiring awareness of film genre is essential to Chinese film development and an important premise for producing national classics.  The influence of Western commercial films is also discussed.
*
__________.  "Historical awareness of directors of the 4th generation and their unique status in Chinese movie history (II)."  Journal of Hainan Normal University 2003-01, pp.63-69.

【Abstract】This paper reveals the subjective awareness of directors of the 4th generation in their historical descriptions from three aspects, and places their unique mode of historical portrayal within the entire framework of Chinese movies through analyzing and explaining various means of historical narrative in Chinese film.  In the author's view, the directors of the 4th generation displayed a unique approach to historical narrative in the movies, and thus established a crucial landmark for later cultural exploration of Chinese movies.
*
Li, Junhui (Xinyang Normal University, Dept. of Chinese).  "The evolution of human mentality through the viewing of Chinese comedy films."  Journal of Xinyang Normal University (Philo & Soc Sci Edit), Vol.23, no.2 (2003), pp.102-105.

【Abstract】While comic films have existed ever since the very early days of Chinese motion pictures, comedy has never been classified as a separate, distinct genre.  Instead, comic films have been classed as a subset of other, traditional genres, beginning with the comedy short, then the romantic comedy, kungfu comedy, etc.  The author traces the development of the Chinese comic film and attributes its restricted development to the special cutural tradition and unique social environment of China.
*
Liu, Shu.  "Liu Qiong and Di Fan through the years."  Popular Cinema 2003-11.

【Abstract】Reviews the long and happy marriage of actor Liu Qiong (1912-2002) and his actress wife Di Fan (1920-    ), each of whom made successful transitions from young leads to older character roles.
*
"Rare historical materials on the death of Ruan Lingyu -- excerpts from the diaries of Li Minwei."  Popular Cinema 2003-15, pp.44-45.
*
Tang, Xiguang (Shandong Univ.).  "The allegorical style of left-wing movies in the 1930s."  Journal of Shandong University (Philosophy and Social Sciences) 2003-03, pp39-42.

《Abstract》 The allegorical style was so common in movies made during the 1930s Left Wing Movement that it became the dominant mode of narration. While this mode of narration facilitated the interpretation of reality and the critique and analysis of the society at that time, it brought with it such negative influences as triteness and formalization.
*
Tang, Xiguang and Liu Zhao (Shandong Univ.).  "On anti-urban tendencies in 1930s films."  Shandong Social Sciences 2003-04, pp.96-98.

【Abstract】In completing their anti-imperialist historical mission, 1930s left-wing filmmakers creatively added to the new language of film narrative and film images in order to confront and subvert the old order.  They laid the first film foundation for the proletariat, but due to historical limitations and their own errors their films increasingly took on an anti-urban stance.  But in summary, they established a new era of great significance to healthy development of the film industry.
*
Wang, Chaoguang.  "The early Shanghai movie industry and the course of Shanghai's modernization."  Archives and History 2003-03, pp.28-35.

【Abstract】An archivist's view of the historical records which document the development of China's early movie industry.
*
Wang, Kailin.  "Gossip is a fearful thing."  Bookstore 2003-08, pp.47-55.

【Abstract】Detailed review of the last few years of Ruan Lingyu's life, and the public and private events which led to her suicide.
*
Xie, Qizhang.  "An extraordinary cover girl -- Li Dandan."  Popular Cinema 2003-22, pp.44-45.

【Abstract】A brief overview of Li's life and multifaceted career as a silent film star and later, a pioneering woman aviator.  Outdated, however, as it repeats the oft-repeated error that Li died in a 1940s air crash, when she actually died of natural causes in the late 1990s.
*
Xu, Liping (Hubei Archives Editorial Dept.).  "A lawsuit in Chinese film history."  Hubei Archives 2003-11.

【Abstract】In 1932, there was a sensational legal battle which rocked the Shanghai movie community.  On one side was the dominant Mingxing (Star) film company; on the other was a legendary figure in Chinese movie history, Da Zhonghua (Greater China) film company head, Gu Wuwei.  The litigation was over the rights to film a very popular novel and stageplay《Marriages Through Tears and Laughter》.
*
Zhang, Yan (College of Art and Media, Beijing Normal Univ.).  "On ''Watching' and 'Being watched'--a perspective on women's images in Hong Kong movies." Film Art 2003-02, pp.98-103.

【Abstract】A comprehensive review of the images of women in HK movies through the years, from《Zhuangzi Tests His Wife》(1913) and《Rouge》(1922) to the present day.
*
Zhang, Zhenhua (Fudan Univ., Center for Arts Education).  "On the culture of the Shanghai-styled film."  Fudan Journal (Social Sciences), 2003-04, pp.108-114.

【Abstract】 The culture of the Shanghai-styled film originated from the subculture of Shanghai.  Against the background of the Shanghai area's culture, this paper systematically discusses the two traditions of Shanghai-styled film in history, analyzes such aesthetical characteristics as pioneering spirit, pragmatism and secularity, and delves into the inner reasons for the changes over time in the aesthetical psychology of Shanghai audiences.
*
Zhou, Yan (Beijing Film Academy, Dept. of Literature).  "Li Minwei and the early Chinese movie industry."  Journal of Beijing Film Academy 2003-02, pp.42-50, 86.

【Abstract】Li Minwei, the founder of Hong Kong films, went through three stages in developing the early film industry.  This paper examines these three stages, and in doing so discovers a relatively complete sketch map of the early Chinese film industry. 

Chinese Film History Studies 2002

This is a bibliography of Chinese language film history studies published in 2002.  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.  Links are to other relevant CM articles.

Books:

Chen, Nan.  An Analysis of Chinese Filmmaking Trends.  Shanghai:  Tongji University Press, 2002.  ISBN 7-5608-2438-2

--examines the predominant trends in each era, from the silent through 1990s, plus two chapters devoted to Hong Kong and Taiwan.

Ding, Yaping, ed.  A Century of Chinese Movie Theory (1897-2001):  selected essays.  2v.   Beijing:  Literature and Arts Press, 2002.  ISBN 7-5039-2159-5

--for the student of the classic era v.1, covering 1897-1976, is most useful.  Included among the authors reprinted here are such leading classical era filmmakers as Gu Kenfu, Zheng Zhengqiu, Cheng Bugao, Hou Yao, Tian Han, Ouyang Yuqian, Luo Mingyou, Zhang Shichuan, Hong Shen, Sun Yu, Xia Yan, Fei Mu, Cai Chusheng, Shi Dongshan, Shi Hui and Zheng Junli.

____________.  The Classical Movie Era.  Zhengzhou:  Elephant Press, 2002.  ISBN 7-5347-2706-5

--27 essays by a major film historian on the films of 4 of the most important classical era directors:  Fei Mu, King Hu, Xia Yan and Sun Yu.

He, Chungeng.  The Traditional Chinese Ethical Film:  from Zheng Zhengqiu and Cai Chusheng to Xie Jin.  Changsha:  Hunan University Press, 2002.  ISBN 7-81053-535-8

--using films of these three major directors as models, discusses the focal and narrative traditions of ethical films, as well as their cultural significance and artistic characteristics.

He, Siying and He Huiling.  Swordsmen in the Jianghu:  Tsui Hark and Hong Kong movies.  Hong Kong:  Hong Film Archive, 2002.

Huang, Xianwen.  Last Night's Starlight:  20th Century Chinese Movie History.  Changsha:  Hunan University Press, 2002.  ISBN 7-5438-3086-8

--popular historical overview, from the beginnings to the works of the "Sixth Generation" directors.

Li, Daoxin.  History of Chinese Film Criticism 1897-2000.  Beijing:  China Film Press, 2002.  ISBN 7-106-01832-5

Lu, Qiangshi.  Chinese Film:  description and explanation.  Beijing:  China Film Press, 2002.  ISBN 7-106-01821-X

--in 14 chapters divided into various eras of Chinese filmmaking discusses historical developments from the standpoint of the trends prevalent in each, from the silent era to the reinstatement of filmmaking immediately after the Cultural Revolution.

Ni, Zhen.  The story of Beijing Film Academy:  the pre-history of the Fifth Generation.  Beijing:  Authors' Press, 2002.  ISBN 978-7-50632-270-6.

Yin, Hong abd Ling Yan.  A History of Chinese Cinema 1949-2000.  Changsha:  Hunan University Press, 2002.  ISBN 7-5356-1809-X

--heavily illustrated history tracing the development of Chinese cinema through several historical periods since the founding of the PRC, with a background of politics, economy and culture through, and portrays the transformation of Chinese cinema from monastic political mode, to pluralistic artistic mode, to popular industrial mode. 

Yuan Congmei, ed. by Huang Ren.  Yuan Congmei Recalls 70 Years of Filmmaking.  Taibei:  Asia-Pacific Press for the [Taiwan] National Film Archive, 2002.  ISBN 9789578264915.

--oral recollections of Yuan Congmei (1905-2005), leading 1920-30s actor, later mainland and Taiwan director.

Articles:

Bian, Jing (Jilin TV Station, Shandong).  "Movie development during the '17 years'."  Journal of the Luhang Institute of Technology 2002-06, pp.117-119.

【Abstract】The "17 years" (1949-1966) was the start-up and initial development period of New China.  Under the dual pressures of political ideology and public sociology, creativity and indivuality were suppressed.  This period of history still has significance today.

Chen, Qingsheng.  "Literary screenplays in late-1940s Shanghai films."  Film Art 2002-06, pp.99-102.
*
Chen, Shan (Beijing Film Academy, Dept. of Literature).  "《Spring in a Small Town》Forever."  Journal of Beijing Film Academy 2001-01, pp.50-58, 114.

【Abstract】Fei Mu's 《Spring in a Small Town》(1948) has been regarded one of the greatest classical works in China movie history.  More than a psychological study, it also carries cultural meaning in a broad sense with its conflicts between sense and sensitivity, between body and soul.  Fei Mu developed the elements of his movies out of Chinese traditional culture and created《Spring in a Small Town》with his own style of writing or painting realistically something of epoch-making significance.
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Dai, Yingying.  "《Long Live the Wife》and research on the phenomenon of Zhang Ailing's movies."  Journal of Beijing Film Academy 2002-05, pp.10-22.

【Abstract】 In the historical view, the movies of Zhang Ailing [Eileen Chang] have been addressed as a whole film phenomenon.  This paper gives a deep analysis of the development of "urban culture" reflected in Zhang Ailing's movies, and through this seeks out the developmental clues of "urban culture" in film history.  Meanwhile, textual analysis of Zhang's movies shows clearly the relationship between literary works and film mechanisms.  Research on the different forms of Zhang Ailing's movies could also be helpful in studies on the history and culture of Hong Kong film.
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Gan, Xuewei.  "Recollections of the Yan'an Forum on Literature and Art, 60 years later."  Popular Cinema 2002-10, pp.7-8.

【Abstract】Although relatively few movies were made during the Chinese Communist Party's Yan'an period, and these were documentaries, this famous May, 1942 conference set the principles which guided mainland Chinese filmmaking after 1949.  These are first-hand memories from one who was there.
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He, Chungeng (Hunan Univ., College of Broadcast, Film and TV Arts).  "The cultural significance of Chinese ethics film plots."  Social Scientist v.17, no.2 (2002), pp.34-38.

【Abstract】Discusses the presentation of family life and ethic relations in the films of Zheng Zhengqiu, then Cai Chusheng and more recently, Xie Jin.
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____________.  "On the narrative tradition of Chinese ethics films."  Journal of Beijing Film Academy 2002-01, pp.31-40.

【Abstract】Much the same content as the article listed above, but goes more deeply into the influences of Western motion pictures on the Chinese filmmakers.  And, although these filmmakers had not experienced the French "New Wave," the author points out strong similarities between that movement and the Chinese ethics films.
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____________.  "Zheng Zhengqiu:  pioneer of the ethical film tradition."  Journal of Shaoguan University (Social Science) v.23, no.10 (2002)), pp.18-25. 

【Abstract】As early as the 1920s Zheng Zhengqiu, a pioneer of Chinese movies, successfully created a series of narrative films concerned with presenting family life and ethic relations.  In doing so he basically established the creative tradition of Chinese movies, stressing the integration into civilization of societal ethics, aesthetic instruction and dramatic techniques. 
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Huang, Xianwen.  (Wuhan Univ., Coll. of Humanities).  "On Xia Yan's films."  Wuhan University Journal (Humanistic Sciences) v.55, no.2 (2002).

【Abstract】After discussing the film scripts of Xia Yan, the author concludes that while his works were in accord with the times, and had major critical impact, they failed to awaken the inner passions of the audience because of the scripts' excessive intellectualism.
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_____________.  "Reviewing the 1930s 'soft film controversy'."  Film Art 2002-03, pp.91-95, 90.

【Abstract】The 1933-35 "soft film debate" among film theorists began with an article titled "Hard film and soft film," published in the journal Modern Movies《现代电影》, and extended to an argument over the "self" versus the "third person" in film narration.  For a long time, there was a largely one-sided presentation of the argument, because the two leading proponents of one view were also political rightists who were later assassinated.  The evidence is clear that their violent deaths were related to their political activities rather than their views in the film controversy, but their early deaths deprived them of the right to defend themselves in the latter.
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Huang, Yufeng.  "The Classical Tendencies of 《Spring in a Small Town》Journal of Hunan Mass Media Vocational Technical College, v.2, No.2 (2002), pp40-44.

【Abstract】The 1948 film《Spring in a Small Town》, directed by Fei Mu, is the near-unanimous choice of Chinese film scholars and critics as the greatest Chinese movie ever made, and the peak achievement of Fei's career.  While employing a variety of ideas and techniques of movies, the film also incorporated features of classical opera.
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Jiang, Bin (Chinese Univ. of Hong Kong).  "Gazing at Modernization: the Hollywood factor in Shanghai's 1930s and 1940s movie culture."  Historical Review 2002-03, pp.98-105.

【Abstract】Although American movies were banned by the Chinese government after the establishment of the People's Republic in 1949, Hollywood movies played a major role in the development of China;s own movie industry in the 1930s and 40s.
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Jiang, Fen.  "1930s Shanghai movie theaters and social culture."  Arts Monthly 2002-11. pp.67-71.

【Abstract】Movie theaters have been transitional focal points of motion picture culture.  The rise, classification and locations of Shanghai cinemas were closely related to the economic development of Shanghai, and the trends to distinguishing social classes.  Cinema emerged as a dominant form of entertainment, surpassing musical performances, and this new culture had a huge impact and strong influence on the psychology of the people of Shanghai.  But the absolute dominance of Hollywood films in Shanghai cinemas, and American cultural hegemony, inevitably provoked a strong counterreaction.
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Jiang, Jun (Nanjing Normal Univ., School of Chinese Language and Literature).  "From the servant of variety to the soul of the film:  the road of Chinese silent films' literature."  Journal of Yili Education College v.15, no.4 (2002), pp.15-19, 35.

【Abstract】The status of the screenplay in early Chinese film history, and how its development and evolution affected Chinese silent films to a great extent.  Under this condition, Chinese silent film literature both exploited and developed the transient and permanent history of Chinese films.
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Jiang, Ying.  "Star of an era:  Shangguan Yunzhu."  Zhongshan Fengyu 2002-02, pp.22-25.

【Abstract】Profile of the major 1940s and 50s film star (1920-1968) who was persecuted to suicide during the Cultural Revolution.
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Jin, Baoshan.  "Zhang Shichuan:  risking death to film a bloody battle."  Popular Cinema 2002-16, pp.36-37.

【Abstract】Zhang Shichuan is known in Chinese cinema history as the leading director of commercial films among China's first generation of filmmakers, with an output of more than 200 films.  What is not well known is that during the early part of China's War of Resistance, inspired by patriotism, he risked his life to film a documentary of the Chinese army in battle.  This tells the story of that work. 
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Li, Daoxin (Beijing Univ., Coll. of Arts).  "Historical awareness of directors of the 4th generation and their unique status in Chinese movie history (I)."  Journal of Hainan Normal University 2002-06, pp.47-58.

【Abstract】This paper reveals the subjective awareness of directors of the 4th generation in their historical descriptions from three aspects, and places their unique mode of historical portrayal within the entire framework of Chinese movies through analyzing and explaining various means of historical narrative in Chinese film.  In the author's view, the directors of the 4th generation displayed a unique approach to historical narrative in the movies, and thus established a crucial landmark for later cultural exploration of Chinese movies.
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______________________________.  "Images of fathers in early Chinese films and their cultural significance."  Film Art 2002-06, pp.103-108.
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Lu, Xiaoyun (Nanjing Normal Univ., School of Chinese Language and Literature).  "Chinese left-wing films in the 1930s."  Journal of Yili Education College v.15, no.3 (2002), pp.42-46, 67.

【Abstract】Explores the reasons behind Chinese left-wing films appearing in the 1930s:  film making developed abnormally in the 1920s; the Chinese nation was in a dangerous situation; the vigorous growth of left-wing literature.  The makers of these films met with great difficulties from many quarters:  the rigid review and censorship system of the Nationalist government; the opposition of some literary and art workers, etc.  But the left wing filmmakers stuck to their progressive direction and overcame some obstacles.  Their successes took Chinese cinema to its first peak.
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Meng, Liye.  "《Sorrows of the Forbidden City》:  a new solution to the puzzle."  Popular Cinema 2002-07, pp.46-47.

【Abstract】One day in March, 1950, leaders of the CPC Central Committee, Mao Zedong, Liu Shaoqi, Zhou Enlai and Zhu De, worked late into the night, after which they went to a vegetarian restaurant in Zhongnanhai, where they watched the 1948 Hong Kong film 《Sorrows of the Forbidden City》.  Afterwards, Liu Shaoqi described it as a "patriotic" film, never anticipating the film would ignite a political controversy, and that Liu's comment would come back to haunt him during the Cultural Revolution.
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Ni, Ping and Jiang Miaozhen.  "Film star Bai Yang in her daughter's eyes."  Women of China 2002-01, pp.40-43.

【Abstract】Actress and TV personality Ni Ping interviews the daughter of actress Bai Yang (1920-1996). 
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Peng, Haijun (Zhejiang Univ., Dept. of Chinese Literature).  "Historical accumulation and the passage of time -- the adaptation of modern Chinese literary masterpieces for movies and TV plays."  Journal of Beijing Film Academy 2002-01, pp.41-49.

【Abstract】A prominent phenomenon of contemporary culture is that it can quickly be entrapped by market factors.  As film culture has grown and prospered, adapting literary classics for movies and television has played a major role in the healthy development of mass culture.  This paper looks at the interaction of literature and film from the perspective of contemporary cultural trends, in the attempt to draw lessons for future efforts from previous successes and failures in screen adaptations.
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Wang, Chaoguang (China Academy of Social Sciences, Inst. of Modern History).  "Motion picture censorship in occupied areas during the War of Resistance." War of Resistance Studies 2002-01, pp.24-49.

【Abstract】During WW2, Japanese authorities supported censorship regulations for filmmaking in the occupied regions of China, but the specific policies implemented varied among the three puppet regimes:  the Wang Jingwei puppet regime followed the regulations of the previous Nationalist government, the puppet regime in the north promulgated their own policies, while the northeast regime basically copied that of the Japanese government.
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Wang, Wei.  "Reflections on Chinese martial arts films."  China and World Cultural Exchange 2002-03, pp.26-28.

【Abstract】One observer's views of martial arts films, China's unique contribution to global cinema.  All of the films discussed are from 1949 to date.
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Wen, Xiang.  "《New Women》 and the deaths of Ai Xia and Ruan Lingyu."  Zhongshan Wind 2002-05, pp.45-46.

【Abstract】The 1935 movie《New Women》, starring Ruan Lingyu, was based to some extent on the life and tragic suicide of young actress Ai Xia.  In a cruelly ironic twist of fate, the film was a contributing factor in Ruan's own suicide.
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Xia, Qiuyu.  "1930s movie community talented female scholar, Ai Xia."  Yanhuang Spring 2002-02, pp.50-52. 

【Abstract】Profile of the young author/actress(1912-1934) whose suicide provided much of the basis for the film《New Women》(1935).
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________.  "Death of a 'movie empress'."  Movie Review 2002-03.

【Abstract】Reflections on the suicide of Ruan Lingyu (1910-1935).
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Xian, Wen.  "Adoration of women in the films of Tian Han."  Film Art 2002-06, pp.109-114.

【Abstract】Tian Han wrote each of his movies to include a female character, usually the main character, whose political attitude and aesthetic ideals were the film's driving force, so much so that one could conclude the film was written by a woman.  Although there were male characters, even a film's hero, they were filtered through the woman's "aesthetic eye."  If deprived of this female character, a Tian Han movie would be a dried-up, shriveled mess.  Therefore, his female characters are the key to the mystery of Tian Han, and to understand these women is to understand his films.
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Xu, Guoxiang.  "Mei Lanfang and film art."  Shanghai Drama 2002-04, pp.26-27.

【Abstract】A superficial overview of legendary Peking opera performer Mei Lanfang's motion picture career.
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Zhang, Tingbo (Jiangnan Univ., Coll. of Foreign Languages).  "A Brief Analysis of Translating Titles of Chinese Movies Into English."   Journal of Jiangnan University (Humanities and Social Sciences), v.21, no.1 (2002), pp.93-96.

【Abstract】Translators of Chinese movie titles into English should emply the functional equivalence principle, while taking into consideration four values associated with this principle, namely the informative, the cultural, the aesthetic and the commercial.  Through analysis of various classical and modern Chinese movie titles, four different translating methods are applied to guiding Chinese-English movie title translation.
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Zhao, Shihui.  "Wei Wei and《Spring in a Small Town》Popular Cinema 2002-01, pp.44-45.

【Abstract】Seeing the 2002 remake prompted the author's recollections of the star of the 1948 classic original, the consensus choice of Chinese film historians and critics as the greatest Chinese movie of all time.