Starting from the interpenetration and integration of film development and film historiographical system， History of Chinese Cinema focuses on both theoretical basis and investigation into cinema against social and cultural background， painting a relatively complete picture of more than 100 years of film history of China. In this book， the author resurfaced the history of Chinese cinema， triggering a “conversation” between readers and the history of Chinese cinema.
內容簡介：
History of Chinese Cinema is the first English book published in China on the history of Chinese cinema and its development. The author of this concise and wide-ranging work is one of the most influential film historians in China today. His writings on film history have had a tremendous impact on film historiography in China and abroad. This book is rich and vivid， systematically providing a broad and deep perspective on the history of Chinese cinema over the past 120-plus years. Taking filmmakers and films as its frame of reference， this book clearly sorts out the basic patterns of the development of Chinese cinema and highlights cinema’s role in mainstream discourses in different historical contexts， the gains and losses in the creation of cinematic texts， sentiments and paradigms， as well as the different definitions of the word “cinema” in different historical contexts. By reorganizing and interpreting the development of Chinese cinema and placing it in a larger historical context， the book is an overarching and unbroken narrative history of cinema.
關於作者：
Ding Yaping is a distinguished professor at Beijing Film Academy， professor at Communication University of China， research fellow at Chinese National Academy of Arts， guest professor at Shanghai Theatre Academy， chairman of the Chinese Collegial Association for Visual Art， and vice-chairman of the China Film Critics Association. He is an awardee of the National Special Support Program for High-level Personnel Recruitment， the winner of Projects of Eminent Cultural Figures awarded by the Publicity Department of the CPC Central Committee， and an “Outstanding Expert” awarded by the Ministry of Culture and Tourism. He is a winner of the special government allowances of the State Council and a member of the China Film Association Council. His major fields of research include historiophoty， film review， and art theory. He has published more than 20 academic monographs， such as Art as Culture， The Art of Chinese Cinema: 1945-1949， The History of Contemporary Chinese Cinema， and General History of Chinese Film. He has obtained and completed three major programs approved by the National Social Science Fund of China as chief expert. He also serves as a member of Editorial Board and editor-in-chief for the Film ? Television Studies of The Encyclopedia of China (Third Edition).
目錄：
Introduction / 1
Chapter One? Early Chinese Cinema 1905-1932 / 16
Section One The Dream of Popular Films / 16
Section Two The Start of Narrative: Touching Film Images / 32
Section Three Film Images and Consciousness Abound / 46
Section Four Bright Film Dreams / 61
Chapter Two? Nationality， Revolution， and Popularity: The Rise of Chinese Cinema 1932-1937 / 78
Section One Perseverance in Filmmaking / 78
Section Two Cinema as Carrier of Social Responsibilities / 97
Section Three Overlapping Marks / 111
Section Four Imaginative Intervention / 125
Chapter Three? From “Orphan Island” to the Rear Areas 1937-1945 / 140
Section One Impact of the Times / 140
Section Two Personal Experiences and Asian Paranoia / 157
Section Three Cinema and Beyond / 176
Chapter Four? Chinese Cinema: From Postwar to Revolution 1945-1949 / 192
Section One Dialectics of Film and Conscience / 192
Section Two Pursuing the Shared Spirit of Cinema / 207
Section Three Enhancement of Film Quality / 219
Section Four Alignment and Variation Between Subject and World / 231
Chapter Five? A New Journey: Torturous Development 1949-1976 / 244
Section One Cinema: A Complete Discourse of the New World / 244
Section Two Subject-Object Interpenetration / 260
Section Three A Clear and Well-defined Theme / 274
Section Four Cinema: To Live or to Die / 284
Chapter Six? Displacement and Narrative 1977-1989 / 299
Section One?The Theme of the New Era / 299
Section Two Cinema: A Vehicle of the Truth or the Moral Values / 319
Section Three “New Film” Campaign / 343
Section Four The Fifth-Generation Chinese Directors: A Rarity in Filmdom / 361
Chapter Seven? Art and Market 1990-1999 / 373
Section One The Turning Point of Fragmented and Intertwined Film Consciousness / 373
Section Two The Possibility of Marketization / 393
Section Three Transposition / 402
Section Four Beauty， Wisdom， and Freedom in Filmmaking / 414
Chapter Eight? Cinema， Politics， and Individuality 2000-2007 / 424
Section One Historical Outlook / 424
Section Two Reality and Its Historical Consciousness / 437
Section Three Dialogues Triggered by Cinema / 454
Section Four Blockbusters， Cinema Chains， and Film Industrialization / 472
Chapter Nine? Reproduction and Construction of Chinese Cinema 2007-2010 / 493
Section One Inclusive Options / 493
Section Two Fermentation and Variations / 506
Section Three Culture， Identity， and Commerce / 525
Section Four Moving Ahead in Disputes / 540
Section Five Transition of the Times / 558
Section Six Demonstration of Film Genres / 573
Chapter Ten? Blockbusters and Their Significance 2011-2021 / 590
Section One Dimension of Practice / 590
Section Two Development of Youth Discourse / 606
Section Three Layout Construction and Sound and Fury / 636
Section Four Dimensions of Cinema: Making All Voices Communicable / 651
Section Five Another World: Rediscovering the “Magic Wand” of Cinema / 687
Section Six Film Production and Globalization: Exploring Future in Uncertainty / 718
Epilogue / 759
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