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Revolutionary Cycles in Chinese Cinema, 1951–1979

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Cover of 'Revolutionary Cycles in Chinese Cinema, 1951–1979'

Table of Contents

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    Book Overview
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    Chapter 1 Introduction: Understanding Revolutionary Culture and Cinema
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    Chapter 2 From The Life of Wu Xun to the Career of Song Jingshi : Adapting Private Studio Filmmaking Legacy for a Nationalized Cinema, 1951–1957
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    Chapter 3 From Revolutionary Canon to Bourgeois White Flag: Blooming Flowers and the Full Moon (1958) in the Maoist Campaigns
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    Chapter 4 From “a Hundred Flowers” to “a Poisonous Weed”: Dangerous Opportunities for Satirical Comedies, 1955–1958
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    Chapter 5 From Revolutionary Romanticism to Petty Bourgeois Fanaticism: The Great Leap Forward and Filmmakers’ Stylistic Return to the Past, 1958–1960
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    Chapter 6 From Disaster to Laughter: Making Comedies in a Changing Political Landscape, 1959–1963
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    Chapter 7 From Conflicting Authorities to Diverse Masses: Early Spring in February (1964) as “Sugarcoated Poison”
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    Chapter 8 Conclusion: From the Ebb of the Revolution to the End of Revolutionary Cinema, 1967–1979
Attention for Chapter 2: From The Life of Wu Xun to the Career of Song Jingshi : Adapting Private Studio Filmmaking Legacy for a Nationalized Cinema, 1951–1957
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Chapter title
From The Life of Wu Xun to the Career of Song Jingshi : Adapting Private Studio Filmmaking Legacy for a Nationalized Cinema, 1951–1957
Chapter number 2
Book title
Revolutionary Cycles in Chinese Cinema, 1951–1979
Published by
Palgrave Macmillan, New York, January 2014
DOI 10.1057/9781137378743_2
Book ISBNs
978-1-349-47847-7, 978-1-137-37874-3
Authors

Zhuoyi Wang

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