Proposes 'polylocality' as a conceptual framework for investigating the shifting spaces of contemporary Chinese cinema in the age of globalization. Questioning the national cinema paradigm, this book calls for comparative studies of underdeveloped areas beyond the imperative of transnationalism.
Gary G. Xu is Associate Professor at the University of Illinois, Urbana-Champaign, USA, where he teaches Chinese literature, comparative literature, and cinema studies. He is the author of Sinascape: Contemporary Chinese Cinema (2007) ...
Ink Dances in Limbo: Gao Xingjian's Writing as Cultural Transition. Hong Kong: Hong Kong University Press. Ying, Ruocheng, and Claire Conceison. 2008. Voices Carry: Behind Bars and Backstage during China's Revolution and Reform.
Philippe Vergne and Doryun Chong, eds., House of Oracles: A Huang Yong Ping Retrospective (Minneapolis, Minn.: Walker Art Center, 2005), pp. 60–79. 97. Ibid., p. 60. 98. Amy Carlson Gustafson, “In Ping's 'House,' the Doors Always Swing ...
With an interdisciplinary, comparative examination of stars and stardom in Chinese cinema from the silent period to the current era of globalization, this volume offers exemplary readings of the historically, geographically and ...
http://sensesofcinema.com/2001/feature-articles/zhangke_interview/ (accessed 23 February 2014). 9. ... See Yingjin Zhang, Cinema, Space, and Polylocality in a Globalizing China (Honolulu: University of Hawai'i Press, 2010), pp. 75–89.
The Aesthetics of Antifascism Radical Projection Jennifer Lynde Barker The Politics of Age and Disability in Contemporary Spanish Film Plus Ultra Pluralism Matthew J. Marr Cinema and Language Loss Displacement, Visuality and the Filmic ...
... Cinema, Space, and Polylocality in a Globalizing China (Honolulu: University of Hawaii Press, 2010), 5–6. 8. Quoted in Phil Hubbard, “Manuel Castells,” in Key Thinkers on Space and Place , ed. Phil Hubbard, Rob Kitchin, ...
Non-Cinema: Global Digital Film-making and the Multitude provides an original film-philosophy through which to understand low budget digital filmmaking from around the globe.
Analyzing this paradigm shift in independent cinema, this text explores the historicity of the cinematic form and its cultural-political visions.
Zhang further develops this line of thinking in his book Cinema, Space, and Polylocality in a Globalizing China. He continues to use the model of Chinese national cinema andoffersan expansiveyetflexible definition.