Index
acting, 16, 35–60; changeable evaluations of realism in, 336–37n80; evaluations of Ruan Lingyu’s greatness in, 40, 56; in film vs. drama, 36, 48–56, 288; histrionic vs. verisimilar, 55, 218, 231; and ontological realism, 35, 41–43; in post-socialist realism, 244; as prescriptive for modernity, 67–69; in yangbanxi, 231–32. See also nonprofessional actors
affect: and acting, 60; in Borzage’s films, 98, 99; in main melody films, 294; in Mao-era films, 28, 162, 173, 176, 181, 190, 193, 197, 202; and melodrama, 126; in 1930s left-wing cinema, 74, 75, 92, 96, 98, 100, 110, 111; and sublimation, 181, 190, 193, 197
All Quiet on the Western Front, 251
Althusser, Louis, 325
Altman, Rick, 126
amateur cinema, 307
Andrew, Dudley, 9, 31, 140, 141, 337n83
animation, 6, 10, 11, 66, 284, 285, 288–90, 305, 309–12, 316, 325, 326
Anker, Elisabeth R., 233
Anna Karenina, 88
Antonioni, Michelangelo, 128, 323
Ants Club (yishe), 100
apophatic realism, viii, 9, 31, 148; defined, 19–23; in Mao-era films, 176; in 1930s left-wing films, 74–75, 111, 176; in post-socialist realist films, 263, 267; in Spring in a Small Town, 119, 128, 130, 132, 134, 141–43; universality of, 327
Arnold, Matthew, 62
art cinema: and open form, 16; and post-socialist realism, 117, 251, 274, 292, 316; and slow cinema, 274; and Spring in a Small Town, 116, 117, 119, 140, 142
artifact emotions, 209–10, 213, 314
Ash Is Purest White (Jianghu ernü), 307
avant-garde, 4, 15, 20, 101, 108, 109, 113, 317, 331n20, 335n61, 344n73
average shot length (ASL): of Crows and Sparrows, 150; of Hollywood films, 269; of Jia Zhangke’s films, 273; of Mao-era films, 269; of 1980s films, 270, 271; of Oxhide II, 275; of post-1980s post-socialist realist films, 273, 274, 275; of Spring in a Small Town and Spring River Flows East, 140–41; of yangbanxi films, 269; of Zhang Yimou’s films, 378n84
Baby’s Meal (Repas de bébé), 6
Badiou, Alain, 21, 136, 138, 329n5
Ba Jin, 130
Balázs, Béla, 34–35, 49, 55, 56, 57
Bao, Weihong, 349n50
Bardleys the Magnificent, 362n55
Bazin, André, vii, 31; on ambiguity, 263; on artifice, 25, 336n65; and automatism, 9, 25, 317; on Chapaev, 222; cinema as language, 24, 335n62; critique of drama in film, 260, 266; on detail, 265, 266; and digital cinema, 284, 302; on ellipses, 22, 23, 141, 267; and indexicality, 24, 43, 265; and Italian Neorealism, 22, 31, 116, 141, 246, 248, 260, 263, 265, 266; and Jia Zhangke, 249, 273; and long take/long shot, 116, 141, 248, 268, 271, 272, 273; myth of total cinema, 11; and ontological realism, 9, 24, 25, 43, 64, 66, 205, 265, 284, 317; and post-socialist realism, 246, 248–49, 260, 263, 265, 266, 267, 268, 271, 272, 273, 275, 279, 374n27, 374n28; and Spring in a Small Town, 116, 141, 142; on Stalinist cinema, 229; translations of, 332n27
Beijing Film Academy, 1, 249, 288, 307, 330n8, 374n27
Benjamin, Walter, 42–43, 55, 64, 353n74
Berlin, 106
Berry, Chris, 80, 163, 172, 173, 174, 177, 215, 224, 238, 240, 245, 264, 274, 295, 306, 366–67n38, 367n41
Bicycle Thieves (Ladri di biciclette), 115
Big Parade, The (Da yuebing), 251–52, 255, 278, 281
Big Road (Da lu), 102, 107, 109, 177, 352n57, 353n71
Bird of Paradise, 76–77
Bitter Love (Ku lian), 264, 349–50n50
Black Cannon Incident (Hei pao Shijian), 245, 250, 278
Black Pirate, The, 89
Blind Shaft (Mang jing), 279
Blood of Passion on the Volcano (Huoshan qing xue), 105
Bloody Case of a Steamed Bun, The (Yi ge mantou yinfa de xue’an), 283
Blue Kite, The (Lan fengzheng), 201, 374n32
Boat Leaving the Port (Barque sortant du port), 65, 263, 328
Bolter, Jay David, 11
Bordwell, David, 104, 113, 119, 128, 140, 150, 151, 156, 206
Borzage, Frank, 73, 92, 93, 95, 96, 97–99, 100, 103
Braester, Yomi, 288
Bravados, The, 184–85
bright tail (guangming de weiba), 103, 352n57
Broken Blossoms, 343n65
Buddhism, 21, 23, 230, 320, 330n13, 334n54
Burton, Tim, 289
Cai Chusheng, 38, 108, 115, 123
camera movement, 27, 52; in Crossroads, 86; in Crows and Sparrows, 146, 149, 151–54; in Daybreak, 99; in Fighting on the Plain, 215; in Kaili Blues, 319–20, 322; in long-take post-socialist realism, 263, 272, 273; in Red Detachment of Women (1961), 181, 192, 194; in The Red Elephant, 263, 271; in River without Buoys, 272, 273; in 7th Heaven, 97, 99; in Spring and a Small Town, 131, 141; virtual, 285–87, 291, 299–303, 311; in The Wandering Earth, 299–303; in The World, 311; in yangbanxi films, 215
Camille, 78, 85, 86, 349–50n29
Capital, 233–34
capitalist realism, 19, 276–77, 291
Capra, Frank, 91
Cavell, Stanley, 9, 25–26, 64, 72
Centre Stage (Ruan Lingyu), 36, 46–48
Ceylan, Nuri Bilge, 323
Chan, Jackie (Cheng Long), 292
Chan, Jessica Ka Yee, 107, 161, 174
Chang, Eileen. See Zhang Ailing
Chang, Michael G., 40–41
Chang, Song-sheng Yvonne, 330n9
Chang Zhenhua, 160
Chapaev, 221–22
character types, 28, 72, 73, 164–65; as automatisms, 73; in Chinese opera, 50, 212; in Crows and Sparrows, 28, 145, 146, 147; landlord as, 165, 207–8; in Mao-era cinema, 164, 165, 197, 207–8, 212, 255; in post-socialist realism, 255; shared with Hollywood, 72, 93; in social and socialist realism, 147–48; in Street Angel, 93–94. See also convention(s): of characterization
Chen Baichen, 358n65
Chen Duxiu, 61–62
Chen Huai’ai, 160
Chen Huaikai, 160
Chen Kaige, 1, 189, 201, 251, 254, 278, 281, 329n6, 374n32
Cheung, Maggie (Zhang Manyu), 36–38, 46–48, 338n12
Chiang Kai-shek (Jiang Jieshi), 148–49
Chou, Katherine Hui-ling, 56, 67, 68
Chow, Stephen (Zhou Xingchi), 281, 291, 316
cinema of attractions, 45, 213–14, 366–67n38
cinematic excess, 23, 202, 238–39
cinephiliac moments, 239, 263, 371n106
City Scenes (Dushi fengguang), 101, 106
Clark, Katerina, 172, 361–62n38
Clark, Paul, 225–26, 227, 236, 252
classical (Hollywood/film) narration, 12, 13, 14, 15, 27, 30, 93, 127, 133, 333n36; average shot length of, 269; and cinematic excess, 238; in Crows and Sparrows, 144, 149, 150–56; in Mao-era films, 15, 30, 161, 163, 164, 172, 177, 180–90, 193, 196–98, 208, 211, 212, 213, 215, 220, 260; and 1930s left-wing films, 69, 72, 74, 75, 76, 79, 80, 81, 101–4, 109, 111–13, 119, 325; and post-socialist realism, 260, 268; in Romance of the Western Chamber, 53–55; and sublimation, 180–90, 198; and yangbanxi films, 208, 211, 212, 213, 215, 238. See also convention(s): Hollywood
close-up: and analytical editing in silent film, 43–55; and change in acting style, 52, 53, 55; as emblem of medium specificity, 55, 57; and facial expression, 52, 55, 56; “invention” of, 342n60; and optical unconscious, 42, 55; in prescriptive/socialist realism, 176, 181–87, 192–97, 206, 217; and socialist formalism, 206
closure, 15, 101–4; in Crows and Sparrows, 157; lack of, 74, 75, 101–4, 110, 111, 113, 263–64
Cold Nights (Han ye), 130
colonialism, 10, 34, 40, 57, 68–69, 73, 78, 87, 89, 90–91, 106–7, 122
color remakes, 160, 211, 220–26
comedy, 119, 161, 165; in Crows and Sparrows, 149, 156, 157. See also romantic comedy; slapstick
Communist Manifesto, The, 233
computer-generated imagery (CGI), 10, 11, 12, 30, 281, 282, 283–92, 305, 306, 325, 326; combined with documentary footage, 316; in main melody films, 295; in martial arts films, 281, 289–90, 291, 295; photorealist vs. animated aesthetic in, 290–91, 297–303, 305; in science fiction films, 296–303; in The World, 312–14
Conquering the Flood (Zhan hong tu), 220
Contemporains, Les, 169
contingency: cinema’s capacity for, 65; and Lefort’s paradox, 227, 228, 229; in post-socialist realism, 244, 260, 262–63
continuity editing, 12, 14, 76, 151–56
continuous revolution, 199, 232, 369n82
convention(s), 4, 24–29, 34–35, 69, 72–73, 92–93, 164; of acting, 55, 218, 231; of ballet, 206; of characterization, 14–15, 19, 27, 28, 72, 74, 93–94, 104–6, 163, 164, 165, 197, 207–8, 212, 251; of critical realism, 102–4; derealization of, 28–29, 177, 207–14, 327; dialectic with realism, 4–8, 72–73, 269; of genre, 4; and fictional realism, 14–15; Hollywood, 18, 28, 30, 53, 69, 71–82, 102, 103, 144, 150–53, 184–91, 198, 342n54; of Mao-era films, 163–98, 206–26, 243, 244, 255; of martial arts film/literature, 13, 19, 78–79, 215; of martyrdom scenes, 192–97, 208–10, 217–19, 265, 296–97, 363n64, 366n30; of post-socialist realism, 244, 278–79; of romantic comedy, 72, 81–85, 93, 96–97; of scenarios, 19, 27, 72, 81–82, 92–93, 96, 163, 164, 197, 208–9; of traditional Chinese arts, 59, 105–6, 142–43, 166, 341n44; of traditional Chinese opera, 49–50, 206, 208, 210, 212–13, 231, 234–35; of yangbanxi, 29, 206–20, 234–35. See also automatism; derealization; melodrama
Cook, Roger, 299
Corpse Bride, 289
Crazy Like a Fox, 82
critical realism, 17–18, 162, 322; and closure, 101–4; and digital cinema, 309; and fictional realism, 74; and melodrama, 121, 126; and 1930s left-wing films, 17–18, 28, 73, 74, 75, 79–81, 91, 101, 109, 110, 327; and postwar 1940s films, 115, 117–21; and prescriptive realism, 120, 167, 168, 216–17, 367n43; and socialist realism, 75, 117–18, 367n43; as subset of social realism, 17–18
Crockett, Tobey, 299
Crossroads (Shizijietou), 71–72, 73, 81–92, 93, 96, 102, 104–5, 109, 110, 121, 124, 146, 349n24, 349–50n29, 352n57, 362n55
Crouching Tiger, Hidden Dragon (Wohu canglong), 13, 289, 295
Crows and Sparrows (Wuya yu maque), 28, 119, 120, 129, 141, 143, 144–57, 162, 198
Cukor, George, 85
Curse of the Golden Flower, The (Mancheng jindai huangjinjia), 281, 282, 289, 312
Curtis, Scott, 304
Daoism, 21, 230, 330n12, 334n54
Daruvala, Susan, 142
Daston, Lorraine, 63–64
datuanyuan, 156
Daybreak (Tianming), 99, 105, 209, 343n65, 366n29
denaturalization. See conventions: derealization of
Deng Xiaoping, 200, 246, 371–72n2
derealization. See conventions: derealization of
Derrida, Jacques, 21
de Saussure, Ferdinand, 5
De Sica, Vittorio, 22, 115, 141, 266
detail, 10, 244, 260, 263, 264–67
Devils on the Doorstep (Guizi laile), 252–53, 257, 265, 269
dialectical materialism, 30, 118, 172, 202, 232–36
Dickens, Charles, 234
didactic scenarios, 163
Dietrich, Marlene, 139
digital indexicality, 305, 306, 317, 322, 325
digital video (DV), 10, 30, 246, 259, 262, 267, 275, 282–83, 305–9, 316–17, 323, 325
Dirlik, Arif, 244
dissolves, 76, 133, 136, 150, 151, 168
Doane, Mary Ann, 9
Dobrenko, Evgeny, 256
documentary, 23, 42, 65, 203–4, 206, 237, 306–9, 312, 331n20; in Centre Stage, 36, 47; in digital cinema, 306–9; insertions in 1930s films, 109; and Jia Zhangke, 261–2, 307, 309, 312, 314–15; in post-socialist realism, 248, 259, 260–62, 265, 281, 307, 309, 312, 314–15
Donald, Stephanie, 168–69, 173, 174, 177, 256
Dong Cunrui, 192, 269, 296, 374–75n38
Dragonfly Eyes (Qingting zhi yan), 317–18
drama: reform of, 59; traditional, 16, 48–53, 55, 57, 59–60; vs. film, 36, 48–56, 59–60, 63, 242, 246–47. See also conventions: of traditional Chinese opera; New Drama; opera; spoken drama
Drunken Concubine, The (Guifei zuijiu), 49, 50
Dumas, Alexandre, fils, 78
Dust in the Wind (Lianlian fengchen), 330n9
Early Spring in February (Zaochun eryue), 160
Eco, Umberto, 15, 19, 20, 110, 142
Edison, Thomas, 72
egao, 283
Eight Thousand Li of Clouds and Moon (Baqian li lu yun he yue), 349–50n50
Eisenstein, Sergei, 107, 108, 234, 248, 256, 353n69
Elephant, 22
Elephant Sitting Still, An (Da xiang xidi er zuo), 274
elevation (affect), 92, 97–99, 101, 173, 176, 197
ellipsis, 13, 377n74; and apophatic realism, 22, 23, 133–36, 141–42; and Mao-era cinema, 190; and post-socialist realism, 260, 267–68; and sex, 134, 190; in Spring in a Small Town, 119, 129, 133–36, 141–42, 356n35, 356n39
Emperor Visits the Hell (Tanghuang you difu), 316
Engels, Friedrich, 147, 148, 233
environmental uncanny, 327–28
epiphanic shots/moments, 171–74, 176, 193, 197, 206, 217
epistemological metaphor, 15, 20, 22, 142
Evening Rain (Bashan yeyu), 241–42, 270
event, 2, 65, 117, 126–27, 136, 157, 198, 263, 326
expressionism, vii, 3, 58, 59, 62, 288, 291, 341n44, 344n75. See also xieyi
eyeline match, 12, 176, 192, 194, 197
fabulation, 326
fake lens flare, 297–98, 299, 335n61
Fairbanks, Douglas, 79, 89, 90, 139
Fan, Victor, 104, 110–11, 138, 143, 340n36
Fan, Xing, 240
Farewell My Concubine (Bawang bie jie), 200–201, 278, 374n32
Farquhar, Mary, 215, 245, 295, 366–67n38
Farrell, Charles, 93, 94, 96, 97, 103
Fei Mu, 16, 23, 115, 128, 134, 140, 142–43, 335n60
Feng Xiaogang, 165
fetishism, 44, 45, 176, 194, 230, 279, 371n106
fictional realism, 9, 19, 109, 126, 315, 327; and apophatic realism, 23; and classical narration, 12; and critical realism, 74; defined, 12–16; and Mao-era films, 193, 197, 202, 208, 211; and melodrama, 126; and 1930s left-wing films, 15, 74–75, 111; and ontological realism, 12, 14, 23–24; and perceptual realism, 12, 14, 23–24; in post-socialist realist films, 261, 315; and postwar 1940s films, 15–16; and prescriptive realism, 24; and social realism, 16, 74; in Still Life, 313
fiction emotions, 209–10, 213, 314
Fiery Years, The (Huohong de niandai), 253
Fifth Generation, 2, 116, 189, 243, 246, 249, 254, 259, 261, 262, 270, 271, 273, 274, 278, 281, 292, 330n8, 374n32
Fighting North and South (Nanzheng beizhan), 194, 220
Fighting on the Plain (Pingyuan zuozhan), 160, 211, 214–16, 217, 218–19, 220–22, 226, 242, 260, 295, 370n89
film noir, 139–40
First Blood, 294
Five Golden Flowers (Wu duo jinhua), 190
Flaherty, Robert J., 279
Forrest Gump, 285
Founding of an Army, The (Jianjun da ye), 293
Founding of a Republic, The (Jianguo da ye), 292
Four Modernizations, 241, 247, 250, 371–72n2
Fourth Generation, 246, 249, 259, 270, 273, 274, 374n32
French Poetic Realism, 128, 140, 141, 279
From Victory to Victory. See Fighting North and South
Fu Chaowu, 253
Fu Jie, 160
gender, 16, 51, 110, 165, 177, 194, 208, 238. See also character types; sexuality
Gaines, Jane, 120, 125, 233–34
Galison, Peter, 63–64
Gang of Four, 200, 231, 241, 248
Garbo, Greta, 40, 45, 86, 88, 339–40n34, 349–50n29, 366n29
Gaynor, Janet, 93–94, 103, 339–40n34
Gentlemen Are Born, 71–72
Gentlemen’s Fate, 76
Gilbert, John, 88
Gish, Lillian, 33, 56, 339–40n34, 342–43n63, 343n65
Gledhill, Christine, 124
Godard, Jean-Luc, 42, 264, 339n22
Goddess, The (Shennü), 43–48, 56, 76–78, 352n57
Go Lala Go (Du Lala shengzhi ji), 277
Gombrich, E. H., 6
gongbi painting, 3
Good Cats (Hao mao), 308
Goodbye South, Goodbye (Nanguo zaijian, nanguo), 22
Gopinath, Sumanth, 311
Gorky, Maxim, 167, 169, 170, 202, 325
Grand Illusion, The, 251
Grandmaster, The (Yidai zongshi), 289
Gravity, 286
Great Leap Forward, 171, 199, 224, 229
Griffith, D. W., 12, 33, 50, 55, 56, 57, 234, 342n60, 343n65
Grusin, Richard, 11
Gu, Ming Dong, 341n44
Gu, Yizhong, 170, 363n64, 366n30
Guerrillas on the Plain (Pingyuan youjidui, 1955), 160, 211–12, 218–19, 221–24, 226, 242, 251, 253, 260, 269
Guerrillas on the Plain (Pingyuan youjidui, 1974), 160–61, 211–12, 218–26, 220–26, 251, 260, 269
Gu Kenfu, 33, 49–50, 61, 62–63, 66–67, 288, 380n18
Gunning, Tom, vii–viii, 11, 45, 205, 306, 325, 366–67n38, 383n16
Guo Fan, 296
Guo Zhenqing, 211
Hansen, Miriam, 43, 45, 75, 83, 109, 110, 111–13, 347n6
hard vs. soft film debate, 73, 74, 81, 91, 346n4
Harlow, Jean, 106
Harmon, Graham, 21
Harris, Kristine, 339n31
Haunted House, The, 76
Hegel, Georg Wilhelm Friedrich, 147
Heidegger, Martin, 21
He Jianjun, 307
Henry, O. (William Sydney Porter), 82, 349n23
Hero (Yingxiong), 281, 289, 291, 295, 374n32, 378n84
heroism: in digital cinema, 290, 291–97; in “main melody” films, 276, 294–95; in Mao-era films, 137, 168, 190–91, 193–96, 197, 198, 208, 211, 212, 217–19, 222, 225–26, 230–32, 234, 235, 259, 272, 291–92, 322; in melodrama, 123–24; in post-socialist realist films, 252, 253, 256, 259, 272, 292; in Republican-era films, 79, 89–90, 105–6, 123–24; in Soviet cinema, 222; in traditional Chinese narratives, 105–6; in yangbanxi films, 208, 212, 217–19, 225–26, 231–32, 234, 235, 291
High and Dizzy, 50
History of the Development of Chinese Film (Zhongguo dianying fazhan shi), 79–80, 81, 117, 144, 149
Hollywood, 12, 14, 28, 44, 45, 53, 122, 126, 133, 141, 142, 143, 150, 164, 165, 260, 295, 296; anticolonial critique of, 73, 87, 89, 90–92; average shot length of, 269; ideological messaging in, 196–97, 359–60n4; and main melody films, 294–95, 302; and Mao-era cinema, 28, 163, 164, 177, 180–81, 184–91, 198, 212, 254, 288–90; and martial arts cinema, 295; and post-socialist realism, 270; and Republican-era Chinese cinema, 15, 18, 30, 71–113, 144, 146, 176. See also classical (Hollywood) narration; convention(s): Hollywood
Hongyu, 254
Horse Thief, The (Dao ma zei), 270, 278
Hou Hsiao-hsien, 22, 31, 142, 273, 323, 330n9
House of Flying Daggers (Shimian maifu), 289, 378n84
Hou Yao, 53
Huang Zongying, 149
Hu Bo, 274
Hu Feng, 367n43
Hu Ge, 283
Hu Shi, 179
Hu Zhenhua, 156
hypermediacy, 309
Iampolski, Mikhail, 210
I by Day and You by Night (Ich bei tag und du bei nacht), 83–84, 349n26
ideal types, 63–66, 69. See also character types; convention(s): of characterization
imaginary GoPro effect, 298, 300
indexicality, vii, 9, 24, 43, 203–6, 210, 220, 265, 284–85, 287, 304–6, 316, 326, 328; expanded conception of, 316, 318, 328. See also ontological realism
inscribing the real. See xieshi/xieshizhuyi
interior performance, 52, 56, 60
“Internationale,” 209
Interstellar, 297–98, 302, 381n32
“In that Faraway Land” (Zai na yaoyuan de difang), 132
Intimate Confessions of a Chinese Courtesan (Ai nu), 192
Irigaray, Luce, 21
Italian Neorealism, 22, 30, 116, 128, 140, 141, 149–50, 246, 247, 248, 260, 264, 265, 266, 279
Ivan the Terrible, 256
Jakobson, Roman, 4–5, 19, 20, 25, 74, 242–43, 244, 278, 327
Jameson, Fredric, 327
Jiang Jieshi. See Chiang Kai-shek
Jiang Qing, 200, 216, 217, 221, 231, 238, 239, 364n6, 367n43
Jia Zhangke, 31, 245, 259, 261, 262, 266–67, 278, 279, 323; and animation/CGI, 309–14; and Bazin, 249; and digital video, 306–7; rejection of heroism, 259, 292; shot lengths of, 273–74; and Yellow Earth, 1–2, 8, 321, 327, 329n6
Jiing, Ray (Jing Yingrui), 142
Jin Yan, 88
jishi/jishizhuyi (on-the-spot realism), 243, 248, 262, 306, 309, 317, 326, 330n10, 376n55
Ji Yun, 60
Journey to the West (Xiyouji), 290, 309–10, 316, 330n13, 364n6
Journey to the West: Conquering the Demons (Xiyouji: jiangmopian), 291
Judd, Ellen, 236
Kaili Blues (Lubian yecan), 319–24, 327
Kant, Immanuel, 6
Keathley, Christian, 239, 371n106
Kiarostami, Abbas, 19, 273, 323
Kim Ki-Duk, 323
Koepnick, Lutz, 323
Kracauer, Siegfried, vii, 34, 35, 80, 110, 262, 265
Kracier, Shelley, 279
Kuan, Stanley (Guan Jinpeng), 36, 47, 48
Kung Fu Hustle (Gongfu), 281, 289, 291
Kunlun Film Company, 144
Kurosawa, Akira, 22
Laborer’s Love (Laogong zhi aiqing), 76
Lacan, Jacques, 8, 21, 136, 142, 325, 327, 329n5
Lady for a Day, 91
Lady of the Camellias, The (La Dame aux Camélias), 78, 85, 87, 349n27, 349–50n29
Lagesse, Cecile, 248–49
Lam, Dante (Lin Chaoxian), 293
Land Mine Warfare (Dilei zhan), 374–75n38
Landsberg, Alison, 202–3
Lau, Andrew (Liu Weiqiang), 293
Lee, Ang, 13
Lee, Vivian, 289
Lefort’s paradox, 227–28, 230, 235
Left-Wing Film Movement, 15, 17, 30, 73, 79, 80, 81, 91, 107, 110, 117, 176, 264, 283, 325
Legend of the White Snake, The, 146, 152
leitmotif films. See main melody films
Leung, Tony Ka-fai (Liang Jiahui), 292
Li, Jet (Li Lianjie), 292
Li, Jie, 375n39
Liang Qichao, 58
liangxiang (opera pose), 49–50, 210, 214, 215, 218, 231–32, 234–35
Li Dazhao, 166
Life (Rensheng), 270
Li Gongpu, 100
Li Guang, 214
Li Hongqi, 267
Li Luo, 316
Lim Giong (Lin Qiang), 220
Li Tianji, 149
Little Toys (Xiao wanyi), 102
Li Tuo, 2, 246–49, 258, 264, 268, 270
liubai, 142
Liu Cixin, 296
Liu Guoquan, 220
Liu Jiayin, 262, 267, 275, 308, 317
Living Forever in Burning Flames (Liehuo zhong yongsheng), 192
Li Yang, 279
Li Yu, 60
Lloyd, Harold, 49–50, 76, 340n42
Lonesome, 82–83, 349n23, 349n24
Long Day’s Journey into Night (Diqiu zuihou de yewan), 317
long shot: in Crows and Sparrows, 152; in post-socialist realist films, 244, 250, 260, 263, 268, 271, 273, 278, 279, 281, 312; in Spring in a Small Town, 141
long take: in Kaili Blues, 320–21, 322–24; in post-socialist realism, 244, 248–49, 260, 261, 263, 268–75, 278, 279, 281, 312; in Spring in a Small Town, 116, 119, 140–41; varying functions/meanings of, 323–34; virtual, 285–87, 299–303
Lou Ye, 307
Love, 88
Love and Duty (Lian’ai yu aiqing), 88–91, 110, 362n55
“Love in a Fallen City” (Qingcheng zhi lian), 138
Lu, Tonglin, 314
Lü Ban, 160
Lubitsch, Ernst, 81
Lukács, Georg, 17, 18, 148, 162, 266, 361n24
Lumière brothers, 72, 263, 328
Lynch, David, 322
main melody films, 245, 276, 292–95
Mandarin Ducks and Butterflies fiction, 106, 352–53n67
Manovich, Lev, 284, 285, 304, 305, 306, 312
Man with a Movie Camera, 106
Mao Dun, 102
Mao Zedong, 159, 166, 169, 202, 209, 225, 241, 257; and the Cultural Revolution, 199–201, 232; as “master,” 176, 228, 229–31, 235; on realism, 161, 162, 171, 202; references to in Guerrillas on the Plain, 224–25
martial arts, 13, 19, 78–79, 215, 217, 281, 289, 290, 291, 295–96, 333n37, 366–67n38
martyrdom, 192–97, 208–10, 217–19, 265, 296–97, 363n64, 366n30, 381n32
Marxism, 65, 117, 118, 121, 126, 166, 167, 232–36, 248, 361n24; Cultural Revolution and, 201. See also dialectical materialism
masochism: and Hollywood colonialism, 90; and Mao-era cinema, 191, 192; and Spring in a Small Town, 130, 132
Mata Hari, 86
May Fourth Movement, 17, 58, 61, 106, 118, 125, 145, 166, 355n18
Mei Lanfang, 59–60
Meisner, Maurice, 163, 229, 230
melodrama, 19, 78, 120–21, 231; and the Cultural Revolution, 200–201; as genre vs. mode, 347–48; Hollywood, 92; in main melody films, 294–95; in Mao-era films, 19, 166, 171, 173, 191, 193, 197, 218, 232–36; and Marxist philosophy, 118, 121, 125–26, 232–36; maternal, 44, 78, 247n10; and prescriptive realism, 19, 166, 171, 173, 191, 193, 197, 218, 232–36, 294; and realism, 115, 120–21, 125–26, 232; in Republican-era films, 67, 72, 73, 80, 105, 115, 232, 118, 119, 120–27, 128, 198; in scar stories, 241
Mermaid, The (Meirenyu), 291, 316
Messaris, Paul, 331n23
Miao Zhenhua, 156
Michotte, Albert, 326
middle characters, 168, 367n43
Mi Jiashan, 165
mimesis, 36, 38, 58, 59, 110; reverse, 36, 38; vs. semiosis, 50, 212–13, 218, 341n44, 341n45; in traditional Chinese aesthetics, 341n44
Mittler, Barbara, 238, 239, 368n60, 369n64
Mizoguchi, Kenji, 142
model works. See yangbanxi
modernism, 4, 59, 140, 142, 267, 270. See also vernacular modernism
Monkey King: Hero is Back (Xiyouji zhi dasheng guilai), 290
montage: classical Hollywood, 150–51; in Crows and Sparrows, 150–51; in Mao-era cinema, 105, 161, 168, 171, 194–95, 196, 197, 206, 224; in post-socialist realism, 268, 270, 271; Soviet, 107–9, 151, 161, 206, 248, 268, 353n69; in Street Angel, 106–9, 151
Morin, Edgar, 22
Motion Picture Company (MPC), 282, 289
movement, 11, 66–67, 325–26, 328
Mulholland Drive, 322
Mullarkey, John, 126, 188, 198, 239, 255, 263, 278, 326
Münsterberg, Hugo, 104
My Dear Friend (Haoyou), 317
myth, 161, 164, 202, 233, 235, 248
Nanguoshe, 68
Nanook of the North, 279
Narrow Street (Xiao jie), 264, 270
natural lighting, 244, 253, 261
Never Weaken, 76
New Culture Movement, 17, 57, 61, 118, 166, 352–53n67
New Women (Xin nüxing), 38, 67, 108, 123, 338n14
Ni Zhen, 251
Nochlin, Linda, 335n61
nonprofessional actors, 244, 253, 256, 258–59, 260, 261–62, 263, 275, 278, 308, 312, 316, 317
objectivity, 2, 10, 36, 40, 61–66, 67, 69, 210–11, 325, 345n96; and acting, 35; and automatism, 64; denial of, 6; and long take, 268, 322; and Marxist theory, 148, 167, 266, 361n24; of the “master,” 229; and May Fourth discourse of realism, 30, 34, 36, 40, 61–66, 69, 288; and performativity, 226; and photography, 63–64; and post-socialist realism, 267, 279; and scientism, 10, 30, 36, 40, 61–66, 69; in traditional Chinese thought, 345n83; vs. truth-to-nature, 63, 64
Obsession (Ossessione), 139, 357n50
off-screen space, 22, 131, 133, 142, 263
One and the Eight, The (Yi ge he ba ge), 250–51, 252, 261, 270, 278
180-degree rule, 153, 155, 156
on-location shooting, 244, 251, 256, 260–62, 263, 275, 278, 312, 317
“On the Modernization of Film Language,” 246–49, 258, 259–60, 268, 270, 278
on-the-spot realism. See jishi(zhuyi)
ontological realism, 8, 16, 24, 27, 74, 202, 290, 315, 316, 325, 326, 327, 328, 341n45; and acting, 9, 35, 41–43, 48–56; and animation/CGI, 10, 11–12, 283–87, 290, 312–13; and automatism, 25, 26; and Bazin, 9, 24, 25, 43, 64, 66, 205, 266, 284, 317, 335n63; defined, 9–10; and digital cinema, 10, 11–12, 283–87, 290, 304–9, 312–13, 318; and digital video, 10, 304–9; and fictional realism, 12, 14, 23–24; and Gu Kenfu, 62–63, 66; and Mao-era films, 201, 203–6, 210, 220, 326; and objectivity, 10, 36; and perceptual realism, 10–11, 23, 300, 326; and Republican-era films, 34–38, 41–43, 48–56, 57, 61–66, 68, 69; and scientism, 10, 34, 36, 57, 61–66; and social realism, 12
open work, 16, 19, 20, 110–11, 142, 263
opera: acting, 49–51, 218, 295, 366–67n38; Beijing (Peking), 49–50, 59–60, 206, 210, 212, 214, 217, 295, 344n78; and martial arts cinema, 215, 295; traditional, 49–51, 53, 57, 59, 142, 161, 208. See also conventions: of traditional Chinese opera; liangxiang; yangbanxi
Operation Mekong (Meigong He xingdong), 293
Operation Red Sea (Hong Hai xingdong), 293
Opium War, The (Yapian zhanzheng), 293
optical unconscious, 42–43, 55, 64
Orphan of Anyang, The (Anyang de gu’er), 279
Oxhide II (Niupi er), 275, 276, 277, 317
Ozu, Yasujiro, 23, 128, 142, 156
painting, 3, 4, 25, 43, 58–59, 63, 142, 284, 285
Pang, Laikwan, 105, 217, 221, 225, 239, 352n57, 366n37
Panofsky, Erwin, 6
Pan Wenzhan, 160
paradigm scenario, 81–82, 92–93, 96, 100, 110
parametric narration, 269, 275
Party A, Party B (Jiafang yifang), 165
Pearson, Roberta, 55, 218, 231
Peirce, Charles Sanders, 24, 284
Peking opera. See opera: Beijing
Peng Ning, 264
perceptual realism, 8–9, 10–12, 23, 27, 68, 74, 202, 286–87, 290, 315, 327, 332–33n30; and animation or CGI, 12, 286–87, 289; defined, 10–12; and fictional realism, 12, 14; and Gu Kenfu, 66–67; and movement, 66, 313; and ontological realism, 11, 23, 326; and social realism, 12, 16
Perez, Gilberto, 42, 126, 161, 164, 267, 325
performative shift, 201, 227–31, 240
Perkins, V. F., 13, 14, 15, 19, 20
Perovskaya, Sofya, 208, 365n28
petty urbanites (xiao shimin), 84, 91, 106, 113, 352–53n67
photography, 6, 7, 9, 25–26, 37–38, 42–43, 55, 63–64, 69, 203. See also ontological realism
Pickowicz, Paul, 80, 115, 118, 120–21, 125, 232, 233, 245
Pine Ridge (Qingsong ling), 220
Plaks, Andrew, 105–6
Plantinga, Carl, 81, 96, 98, 173, 209
Platform (Zhantai), 264, 267, 307, 309, 315
Postman Always Rings Twice, The, 139, 357n50
postsocialism, 244–46
post-socialist realism, viii, 16, 29, 30, 241–80, 325, 326; ambiguity in, 263–64; contingency in, 244, 260, 262–63; conventionalization of, 278–79, 314, 327; and critical realism, 18; defined, 244, 245–46; and digital video, 246, 259, 306–7; heroism in, 252, 253, 256, 259, 272, 292; hypermediacy in, 309; and “generations,” 243–44; and 1930s left-wing films, 264; nonprofessional actors in, 244, 253, 256, 258–59, 260, 261–62, 263, 275, 278, 308, 312, 316, 317; on-location shooting in, 244, 251, 256, 260–62, 263, 275, 278, 312, 317; and prescriptive realism, 278, 310; as reaction to prescriptive/socialist realism, 29, 30, 243, 245–46, 247–48, 249–60, 262, 265–66, 267, 270, 272, 276–77, 280; and Spring in a Small Town, 116; war/military films of, 250–53, 257
prescriptive realism, viii, 9, 24, 74, 75, 98–99, 242–43, 322, 327, 360n5; action films as, 19, 190; capitalist realism as, 276–77; and CGI, 291; and contingency, 262; in Crows and Sparrows, 120, 157; defined, 18–19, 162, 197; depicted in post-socialist realism, 310; and detail, 266; main melody films as, 245, 276, 292, 292–94, 296–97; in Mao-era cinema, 30, 162–77, 196–98, 216–17, 221, 325; martial arts films as, 19, 217, 291, 295–96; and melodrama, 19, 166, 171, 173, 191, 193, 197, 218, 232–36, 294–95; in 1930s left-wing films, 36, 69, 75; post-socialist realism as reaction against, 242–44, 249, 268, 276–77, 280; science fiction films as, 296–97; superhero films as, 190, 292, 295; of yangbanxi films, 216–17, 240, 242
Prince, Stephen, 286, 332–33n30
proletarian realism, 19, 118, 157, 161, 162, 167
Promise, The (Wuji), 281, 283, 312, 374n32
propaganda, 2, 19, 157, 159, 164, 193, 196, 237, 239, 276
prosthetic memory, 202–3, 205, 252, 326
punctuation cuts, 76, 133, 150–51. See also dissolves
Qian Haoliang, 231
Qin Zhaoyang, 367n43
Qi Rushan, 59–60
Qu Qiubai, 165
Raid on the White Tiger Regiment (Qixi baihu tuan), 370n89
Railway Guerrillas (Tiedao youjidui), 252–53, 374n38, 374–75n38
Raise the Red Lantern (Da hong denglong gaogao gua), 278, 378n84
Rambo: First Blood II, 294
Rashomon, 22
Ray, Satyajit, 128
realism, vii–viii, 62, 68–69, 115, 116–17, 119, 147–48, 203, 217, 248, 267, 268, 269, 278, 324–28; in acting, 49–57, 67; dialectic with convention, 4–8, 72–73; as hegemonic discourse in modern China, viii, 57–62, 287–88; Jakobson’s two tendencies of, 4–5, 74, 242–43, 244, 278, 327; in literature, viii, 17, 58, 62, 266; and melodrama, 115, 120–21, 125–26, 198; and myth, 161; in painting, 3, 25, 43, 58–59; and shot distance and length, 141; six categories of (cinematic), 8–24, 74–75, 327; surrealism as, 314. See also apophatic realism; capitalist realism; critical realism; fictional realism; ontological realism; perceptual realism; post-socialist realism; prescriptive realism; proletarian realism; social realism; socialist realism; virtual realism; xieshi/xieshizhuyi
Reconnaissance across the Yangtze River (Du jiang zhencha ji), 220
Red Cliff (Chi bi), 285–86, 290, 380n11
Red Detachment of Women (Hongse niangzijun, 1961), 160, 165, 178, 181–85, 189–97, 204–11, 217, 219, 253, 254, 257, 269
Red Detachment of Women (Hongse niangzijun, 1970 ballet film), 160, 207–11
Red Detachment of Women (Hongse niangzijun, 1972 opera film), 160, 207–12, 236–37
Red Elephant, The (Hong xiang), 261, 262–63, 271, 272
Red Lantern, The (Hong deng ji), 209, 231
Red Sorghum (Hong gaoliang), 378n84
Renoir, Jean, 115, 141, 142, 251
reverse mimesis. See mimesis: reverse
revolutionary realism and revolutionary romanticism, 19, 161, 162, 167, 170–71, 188, 197, 202, 217, 222, 242, 291. See also prescriptive realism, revolutionary romanticism
revolutionary romanticism, 169–71, 173, 176, 193, 202, 231, 295. See also revolutionary realism and revolutionary romanticism
Riis, Johannes, 55
River Without Buoys (Meiyou hangbiao de heliu), 270, 272, 369n65
Road of Life, 107
Robinson, Luke, 306
Rodowick, D. N., 9, 26, 64, 73, 304
Rofel, Lisa, 306
Romance of the Western Chamber (Xixiangji), 53–55
romantic comedy, 15, 72, 81, 91, 93, 96–98, 101, 104, 109; of misrecognition, 81–85, 93
romanticism, vii, 19, 169–71, 196, 198, 202, 206, 231, 293, 310. See also revolutionary romanticism; revolutionary realism and revolutionary romanticism
Rosen, Philip, 9, 203–5, 210–11, 220, 240, 284, 305
Rosenthal, Joe, 196
Ruan Lingyu, 36–40, 43–48, 53, 56, 67–68, 76–77, 88, 338, 339–40, 338n12, 338n20, 339–40n34
Rules of the Game, The (La règle du jeu), 115
Ruttmann, Walter, 106
Sands of Iwo Jima, 193, 196–97, 211
Sátántangó, 22
Scarlet Empress, The, 139
scar stories, 200, 241, 364n6, 371n1, 371–72n2
Schudson, Michael, 277
Schwarcz, Vera, 330n12
Schweinitz, Jörg, 27–29, 92, 93, 164–65, 177, 207, 243, 249, 327, 360n19
science fiction, 287, 291, 296–303, 325
scientism, 10, 16, 34, 36, 61–67, 69, 326
“Sealed Off” (Fengsuo), 137
secondary semantization, 28, 29, 165, 327
semiosis, 50, 63, 212–13, 218, 341n44, 341n45
sexuality, 16, 101; in Mao-era films, 177–90, 197, 236–38; in 1930s left-wing films, 73, 85–87, 101, 110; in Spring in a Small Town, 129, 131–40; Western influence on, 68
Shadowplay Magazine (Yingxi zazhi), 33, 48–50, 62
Sha Meng, 192
Shanghai Left-wing Film Movement. See Left-wing Film Movement
Shaolin Soccer (Shaolin zuqiu), 291
Shao Quanlin, 367n43
Shi, Yaohua, 373
Shih, Shu-mei, 61
Shop Around the Corner, The, 81
shot distance/scale. See close-up; long shot
Shumway, David R., 101
Silbergeld, Jerome, 257
Sixth Generation, 116, 243, 246, 249, 261, 267, 273, 278, 306–7
slapstick, 72, 73, 108, 109, 149
socialist formalism, viii, 30, 168, 171–77, 193, 196, 197, 201, 227, 230, 231, 240, 242; defined, 206–7. See also performative shift; yangbanxi
socialist realism, 18, 19, 27, 28, 29, 30, 58, 75, 79, 105, 118, 157, 159, 161, 162, 164, 167, 169–71, 188, 190, 197, 295, 327; and capitalist realism, 277; character types in, 147–48; and main melody films, 245, 276, 292, 293, 296–97; naming of, 19, 161, 197; vs. post-socialist realism, 243, 245–46, 247–48, 249, 253, 254–55, 259, 260, 265–66, 267, 272, 276; vs. social realism, 201; Soviet, 19, 28, 105, 167, 169–70, 206, 222. See also prescriptive realism, revolutionary realism and revolutionary romanticism
socialist-realist gaze, 168–69, 171, 173–77, 193, 196, 230–31, 256
social realism, 9, 12, 24, 64, 102–5, 150, 162, 315, 322, 327; and CGI, 313; character types in, 147–48; closure in, 102–5; critical realism as subset of, 17–18; in Crows and Sparrows, 119, 144, 147–150, 157; defined, 16–18; in Mao-era films, 202, 211; and melodrama, 121, 126; in 1930s left-wing films, 15, 17–18, 68, 72, 73, 74, 91, 98, 109, 111; and ontological realism, 12; and perceptual realism, 12; as precursor to socialist realism, 18, 79, 117–118, 157, 201; and prescriptive realism, 18, 162–63, 168, 216–17, 310; in Spring River Flows East, 119, 126
“Song of Four Seasons,” 108, 109
Song of Youth, The (Qingchun zhi ge), 160, 172–76, 178–81, 185–88, 192, 194, 195, 209, 254
Soviet Union, 59, 161, 164, 167, 168; cinema of, 28, 53, 105, 106, 107–8, 109, 151, 161, 164, 168, 221–22, 348n22; performative shift in, 226–27; and postsocialism, 245; Sino-Soviet split, 224; socialist formalism of, 206; socialist realism of, 19, 28, 105, 167, 169–70, 206, 222; “statification” of, 229
speed ramps, 291
spoken drama (huaju), 51–52, 59
Spray of Plum Blossums, A (Yi jian mei), 78–79
Spring in a Small Town (Xiao cheng zhi chun), 116, 119, 120, 127–43, 144
Spring in the South (Nanguo zhi chun), 362n55
Spring River Flows East (Yi jiang chun shui xiang dong liu), 115–16, 118, 119, 120–27, 128, 129, 141, 143, 144, 349n49, 355n18
Spring Silkworms (Chuncan), 102
Springtime in a Small Town (Xiao cheng zhi chun), 357n49
Stage Sisters (Wutai jiemei), 160
Staiger, Janet, 104, 113, 150, 156
Stalin, Joseph, 222, 226, 227, 229, 256
Stalker, 321
Stanislavski, Constantin, 56, 59
“statification,” 228–29
Star Wars, 297
stereotype. See convention
Still Life (Sanxia haoren), 273, 312–15
Storm Over Asia, 107
Street Angel (1928), 92–99, 103
Street Angel (Malu tianshi, 1937), 73, 92–101, 104, 106–10, 146, 349n49
sublimation, 30, 177–93, 197–98, 237
Sunny Side Up, 102
Sunrise, 106
Sun Yongping, 253
Sun Yu, 99, 102, 105, 109, 110–11, 142, 170
suppositionality, 213, 288, 366n35, 366n36
surrealism, 314, 317, 320, 324
tableau vivant, 215, 234–36, 370n89
Taiwan New Cinema, 116
Taking of Tiger Mountain, The (Zhiqu Weihu Shan), 291, 302
Taking Tiger Mountain by Strategy (Zhiqu Weihu Shan), 213, 370n89
“Talks at the Yan’an Forum on Literature and Art,” 162, 166, 167, 170
Tang Yingqi, 374–75n38
Tarkovsky, Andrei, 321
There Will Be Followers (Zi you houlai ren), 192
Thief of Bagdad, The, 139
Third Sister Liu (Liu sanjie), 165
Thompson, Kristin, 23, 104, 113, 115, 140, 150, 156, 238, 268, 269, 278
Three Musketeers, The, 89
three prominences, 225, 234, 295–96, 368n61
Tian Zhuangzhuang, 201, 261, 270, 357n49, 374n32
Todorov, Tzvetan, 102
Tolstoy, Leo, 88
Toy Story, 282
Troubleshooters, The (Wanzhu), 165
Tsui Hark (Xu Ke), 291
Turnock, Julie, 290, 291, 297, 302
24 City (Ershisi Cheng ji), 315
Twin Sisters (Zimei hua), 352n57
Two Gentlemen of Verona, 78
2001: A Space Odyssey, 297
Udden, James, 128
Umberto D., 266
Undying Wave (Yong bu xiaoshi de dianbo), 192
Unfinished Comedies, The (Meiyou wancheng de xiju), 159–60
Unknown Pleasures (Ren xiaoyao), 273, 309–10
USSR. See Soviet Union
utopianism: and apophatic thought, 21; of capitalist realism and socialist realism, 277; in Crows and Sparrows, 144; cult of, 229–30; and the Cultural Revolution, 99; of Maoism, 163, 199, 229; of Marxism, 167; in post-socialist realism, 309–11; of scientism, 34; in 7th Heaven, 97
Valentino, Rudolph, 78
Van Sant, Gus, 22
vernacular modernism, 15, 30, 67, 75, 76, 111–13, 347n6
Vertov, Dziga, 106
villain stardom, 207, 222, 253
virtual camera, 286, 291, 298–302
virtual realism, 10, 283–84, 287–88, 290, 306, 323, 325
virtual reality, 11
von Sternberg, Joseph, 139
Walk in the Sun, A, 251
Wandering Earth, The (Liulang diqiu), 296–303, 306, 381n32
Wang, Ban, 161, 177–78, 188, 237
Wang, David Der-wei, 58, 59, 356n39
Wang, Eugene, 58, 344n73, 344n75
Wang Bin, 160
Wang Chao, 279
Wang Jiayi, 190
Wang Luobing, 132
Wang Ping, 192
Wang Shuo, 237
Wang Xiaoshuai, 307
Warrior and the Wolf, The (Lang zai ji), 374n32
Weber, Max, 163
Weerasethakul, Apichatpong, 323
Weigel, Moira, 274
wenyi, 127–28
whip pans, 152–54
White-Haired Girl, The (Bai mao nü), 160, 168, 171, 174, 176, 194, 195, 207, 236–37, 253
Wilcox, Emily, 363n66
Wild Mountains (Ye shan), 270
Wild Swans, 200
Willeman, Paul, 239
Williams, Linda, 123, 124, 126, 133, 190, 191, 294, 349n49
Wittgenstein, Ludwig, 21
Wizard of Oz, The, 207
Wolf Warrior 2 (Zhan lang), 293–95, 297
Woman Basketball Player No. 5 (Nü lan wuhao), 190
Wong Kar-wai (Wang Jiawei), 289
Woo, John (Wu Yusen), 285, 380n11
World, The (Shijie), 310–12
world/worldhood, 12–16, 19–20, 22–23, 31, 104, 141, 213, 313
Wu Jianhua, 374–75n38
Wu Jing, 293
Wu Tianming, 270, 271–72, 369n65
Wu Tingfang, 156
Wu Yigong, 241
Wu Zhaodi, 160
Xi’an Film Studio, 271–72
xianshi(zhuyi), 62, 243, 330n10
Xiao, Jiwei
Xiao Wu, 259, 261, 266, 273, 274, 278, 279, 309
Xia Yan, 90–91, 105, 107, 367n43
Xie Fang, 174
xieshi/xieshizhuyi, 3–4, 58, 243, 330n10, 340n36
Xie Xiaojing, 261
xieyi, 3, 58, 62, 344n75. See also expressionism
Xi Jinping, 293
Xi Naifang. See Zheng Boqi
Xing Ye, 220–22
Xu, Gary G., 252
Xu Da, 374–75n38
Xu Jinglei, 277
Yang, Edward, 323
Yang, Panpan, 122
yangbanxi (model work) films, 29, 160, 201, 206–20, 225–26, 231, 369n65; and artifact emotions, 210; average shot length of, 269; character types in, 207–8; as cinema of attractions, 213–14, 366–67n38; cinematic nature of, 215, 367n41; vs. classical narration, 193; and derealization, 207–11; endings of, 234–36, 370n89; and martial arts films, 215, 217, 296; martyrdom scenes in, 209; and performative shift, 227; represented in post–Cultural Revolution cinema, 242; sexuality in, 236–38
Yang Ban Xi: The Eight Model Works, 237
Yang Mo, 172
Yang Ni, 264–65
Yang Pingdao, 317
Yang Quan, 62
Yang Yanjin, 264
Yan Xueshu, 270
Yeh, Wen-hsin, 100
Yellow Earth (Huang tudi), 1–2, 8, 245, 254–59, 260, 261, 264, 267, 270, 278, 281, 321, 327, 330n9
Ying Liang, 308
Younger Generation, The (Nianqing de yidai), 220
You’ve Got Mail, 81
Yuan Muzhi, 73, 92–101, 104, 106, 151
Yuan Naichen, 220
Yuen Woo-ping (Yuan Heping), 295
Yurchak, Alexei, 226–27, 229, 230, 231
Yu Yanfu, 192
Yu Zhongying, 253
Zhang, Ling, 317
Zhang, Yingjin, 245, 246, 339n31, 330n35
Zhang Jianye, 261
Zhang Junhao, 250
Zhang Manyu. See Cheung, Maggie
Zhang Nuanxin, 246–48, 264, 268, 270
Zhang Shichuan, 76
Zhang Yang, 309
Zhang Yimou, 189, 201, 250, 251, 254, 255, 271, 272, 278, 281, 290, 291, 374n32, 378n84
Zhang Yuan, 259, 261–62, 307, 316
Zhang Zhen, 80
Zhang Ziyi, 202
Zhao Dan, 84, 93, 94, 146, 349–50n29, 358n65
Zhao Yiman, 192
Zhdanov, Andrei, 169–70
Zheng Junli, 28, 53, 55, 56, 115, 119, 144, 156, 358n65
Zheng Zhengqiu, 52, 55, 68, 352n57
Zhou, Chenshu, 198
Zhou Chuanji, 249
Zhou Yang, 147, 167, 169, 170, 361n24
Zhuangzi Tests His Wife (Zhuangzi shi qi), 341n46
Zhu Xijuan, 189
Zou, John Yu, 33–34