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table of contents
  1. Cover
  2. Title Page
  3. Copyright Page
  4. Contents
  5. Preface and Acknowledgments
  6. Introduction. Inscribing the Real: Cinematic Realism and Convention
  7. 1. Acting Real in Chinese Silent Cinema
  8. 2. Shanghaiing Hollywood in the 1930s
  9. 3. Realism and Event in Postwar Chinese Cinema
  10. 4. Prescriptive Realism in Revolutionary Cinema of the Seventeen Years
  11. 5. Socialist Formalism and the End(s) of Revolutionary Cinema
  12. 6. A Long Take on Post–Socialist Realism
  13. 7. Chinese Cinematic Realism(s) in the Digital Age
  14. Conclusion
  15. Notes
  16. Index
  17. About the Author

Chinese Film

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The publication of this book was supported by an Imagine Fund grant for the Arts, Design, and Humanities, an annual award from the University of Minnesota’s Provost Office.

This book is freely available in an open access edition thanks to TOME (Toward an Open Monograph Ecosystem)—a collaboration of the Association of American Universities, the Association of University Presses, and the Association of Research Libraries—and the generous support of the College of Liberal Arts at the University of Minnesota, Twin Cities. Learn more at the TOME website, available at openmonographs.org.

Portions of chapter 1 are adapted from “Acting Real: Cinema, Stage, and the Modernity of Performance in Chinese Silent Film,” in The Oxford Handbook of Chinese Cinemas, edited by Carlos Rojas (Oxford: Oxford University Press, 2013); reproduced with permission of the Licensor through PLSclear. Portions of chapters 4 and 5 are adapted from “Cultural Revolution Model Opera Films and the Realist Tradition in Chinese Cinema,” The Opera Quarterly 26, no. 2–3 (2010): 343–76; by permission of Oxford University Press. Portions of chapter 6 are adapted from “Post–Socialist Realism in Chinese Cinema,” in Red Legacies in China: Cultural Afterlives of the Communist Revolution, edited by Jie Li and Enhua Zhang, published by the Harvard University Asia Center, 2016.

Copyright 2022 by Jason McGrath
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