Beginning first as a case study of Feng Xiaogang, this book
explores Chinese film history since the early 1990s in terms of
changes of the Communist Party's film policy, industry reforms, the
official promotion of Main Melody films and the emergence and
growth of popular cinema. The image of Feng that will emerge in
this book is of a filmmaker working under political and economic
pressures in a post-socialist state while still striving to create
works with a personal socio-political agenda. In keeping with this
reality, this book approaches Feng as a special kind of film auteur
whose works must be interpreted with attention to the specific
social and political context of contemporary China.
The book will be a useful reference tool for students and scholars
in the fields of Chinese studies, Chinese film history and film
studies. It could also be used as textbook for classes about Asian
cinema, international cinema and Chinese culture/film studies. The
extensive use of data about the Chinese film market, and elaborate
analysis of the situation of Chinese film industry make this book a
valuable volume for classroom and personal use.
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