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中国电影史（英）

作者: 丁亚平著

出版社: 外文出版社

出版时间: 2022-07

版次: 1

ISBN: 9787119129136

定价: 230.00

装帧: 精装

开本: 16开

纸张: 胶版纸

页数: 800页

字数: 450.000千字

分类: 语言文字

4人买过

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. 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). 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

Index / 763
内容简介:
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.
作者简介:
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).
目录:
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

Index / 763

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中国电影史（英）

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