March 2010

Art, politics, and commerce are intertwined everywhere, but in China the interplay is explicit, intimate, and elemental, and nowhere more so than in the film industry. Understanding this interplay in the era of market reform and globalization is essential to understanding mainland Chinese cinema. This interdisciplinary book provides a comprehensive reappraisal of Chinese cinema, surveying the evolution of film production and consumption in mainland China as a product of shifting relations between art, politics, and commerce. Within these arenas, each of the twelve chapters treats a particular history, development, genre, filmmaker or generation of filmmakers, adding up to a distinctively comprehensive rendering of Chinese cinema. The book illuminates China’s changing state-society relations, the trajectory of marketization and globalization, the effects of China’s stark historical shifts, Hollywood’s role, the role of nationalism, and related themes of interest to scholars of Asian studies, cinema and media studies, political science, sociology, comparative literature and Chinese language. Contributors include Ying Zhu, Stanley Rosen, Seio Nakajima, Zhiwei Xiao, Shujen Wang, Paul Clark, Stephen Teo, John Lent, Ying Xu, Yingjin Zhang, Bruce Robinson, Liyan Qin, and Shuqin Cui.  —Hong Kong University Press

This book is about the ritual world of a group of rural settlements in Shanxi province in pre-1949 North China. Temple festivals, with their giant processions, elaborate rituals, and operas, were the most important influence on the symbolic universe of ordinary villagers and demonstrate their remarkable capacity for religious and artistic creation. The great festivals described in this book were their supreme collective achievements and were carried out virtually without assistance from local officials or educated elites, clerical or lay. Chinese culture was a performance culture, and ritual was the highest form of performance. Village ritual life everywhere in pre-revolutionary China was complex, conservative, and extraordinarily diverse. Festivals and their associated rituals and operas provided the emotional and intellectual materials out of which ordinary people constructed their ideas about the world of men and the realm of the gods. It is, David Johnson argues, impossible to form an adequate idea of traditional Chinese society without a thorough understanding of village ritual. Newly discovered liturgical manuscripts allow him to reconstruct North Chinese temple festivals in unprecedented detail and prove that they are sharply different from the Daoist- and Buddhist-based communal rituals of South China.  —Harvard University Press