Introduction: on transnational Chinese cinema(s), hegemony and Huallywood(s)

References

• Abdi, H. O. 2016 “Kung Fu in Nollywood: A Preliminary Study of the Effects of Chinese Cinemas on Film Production Practices in Nollywood.” A paper delivered at Situating Huallywood: Cinematic Interconnections in the Asia-Pacific, Ningbo Institute of Technology, Zhejiang University, Ningbo, 14-15 May.
   Google Scholar
• BBC. 2019 “Liu Yifei: Mulan Boycott Urged after Star Backs HK Police.” August 16. https://www.bbc.com/news/world-asia-china-49373276
   Google Scholar
• Berry, C. 1998. “If China Can Say No, Can China Make Movies? Or, Do Movies Make China? Rethinking National Cinema and National Agency.” Boundary 2 25 (3): 129–150.
   Google Scholar
• Berry, C. 2010. “What Is Transnational Cinema? Thinking from the Chinese Situation.” Transnational Cinemas 1 (2): 111–127. doi:10.1386/trac.1.2.111_1.
   Google Scholar
• Berry, C. 2013. “Transnational Culture in East Asia and The Logic of Assemblage.” Asian Journal of Social Science 41: 453–470.
   Web of Science ®Google Scholar
• Berry, C., and L. Pang. 2008. “Introduction, or, What’s in an “s”?” Jornal of Chinese Cinemas 2 (1): 3–8. doi:10.1386/jcc.2.1.3_2.
   Google Scholar
• Berry, C., and M. Farquhar. 2006. China on Screen: Cinema and Nation. New York: Columbia University Press.
   Google Scholar
• Davis, D. W., and E. Y-y. 2008. East Asian Screen Industries. London: British Film Institute.
   Google Scholar
• Fan, V. 2015. Cinema Approaching Reality: Locating Chinese Film Theory. Minneapolis & London: University of Minnesota Press.
   Google Scholar
• Fengliang, L. 2010. “New Horizons of Transnational Chinese-language Film Studies: An Interview with Sheldon H. Lu.” Journal of Chinese Cinemas 4 (3): 245–260. doi:10.1386/jcc.4.3.245_7.
   Google Scholar
• Gareth, E. dir. 2016. Rogue One: A Star Wars History.
   Google Scholar
• Griffith, J. 2019. “The Rise of the Chinese Communist Party-approved Blockbuster.” CNN, October 1.
   Google Scholar
• Higbee, W., and S. H. Lim. 2010. “Concepts of Transnational Cinema: Towards a Critical Transnationalism in Film Studies.” Transnational Cinemas 1 (1): 7–21. doi:10.1386/trac.1.1.7/1
   Google Scholar
• Homewood, C. 2018. “Directed by Hollywood, edited by China? Chinese Soft Power, Geo-imaginaries, and Neo-Orientalism(s) in recent U.S. blockbusters.” In Popular Geopolitics: Plotting an Evolving Interdiscipline edited by Robert A. S. and V. Strukov. London: Routledge, 174–196.
   Google Scholar
• Li, D. L. 2016. Economy, Emotion, and Ethics in Chinese Cinema: Globalization on Speed. London: Routledge.
   Google Scholar
• Lim, S. H. 2007. “Editorial: a New Beginning: Possible Directions in Chinese Cinemas Studies.” Journal of Chinese Cinemas 1 (1): 3–8.
   Google Scholar
• Lim, S. H. 2016. “Editorial.” Journal of Chinese Cinemas 10 (1): 1–3.
   Google Scholar
• Lu, S. H.-P. 1997a. Transnational Chinese Cinemas: Identity, Nationhood, Gender. Honolulu: University of Hawai’i Press.
   Google Scholar
• Lu, S. H.-P. 1997b. “Historical Introduction, Chinese Cinemas (1896–1996) and Transnational Film Studies.” In Transnational Chinese Cinemas: Identity, Nationhood, Gender, edited by S. H.-P. Lu, 1–31. Honolulu: University of Hawaii Press.
   Google Scholar
• Lu, S. H.-P. 2001 China, Transnational Visuality, Global Postmodernity XXX
   Google Scholar
• Lu, S. H.-P. 2014. “The Question of Reception in Transnational Chinese-language Film Studies: A Rejoinder and Discussion.” Contemporary Cinema (Dangdai Dianying) 10: 27–29.
   Google Scholar
• Lu, S. H.-P., and E. Y. Yeh. 2005. “Introduction: Mapping the Field of Chinese-Language Film.” In Chinese-language Film: Historiography, Poetics, Politics, edited by Lu, S. H. and E. Y. Yeh, 1–24. Honolulu: University of Hawai’i Press.
   Google Scholar
• Marchetti, G., and T. S. Kam, eds. 2007. Hong Kong Film, Hollywood and the New Global Cinema. No Film Is an Island. London: Routledge.
   Google Scholar
• Meghan, M. 2005. “Introduction: Hong Kong Connections.” In Hong Kong Connections Transnational Imagination in Action Cinema, edited by M. Morris, S. Leung Li, and S. C. Ching-kiu, 1–18. Hong Kong: Hong Kong University Press.
   Google Scholar
• Ong, A. 1999. Flexible Citizenship. The Cultural Logics of Transnationality. Durham and London: Duke University Press.
   Google Scholar
• Ong, A., and D. M. Nonini, eds. 1997. Ungrounded Empires. The Cultural Politics of Modern Chinese Transnationalism, 3–36. New York: Routledge.
   Google Scholar
• Peiren, S. 2014. Hua Laiwu Dianying Gailun [Introduction to Huallywood Cinema]. Hangzhou: Zhejiang University Press.
   Google Scholar
• Raju, Z. H. 2008. “Filmic Imaginations of the Malaysian Chinese: ‘mahua Cinema’ as a Transnational Chinese Cinema.” Journal of Chinese Cinemas 2 (1): 67–79. doi:10.1386/jcc.2.1.67_1.
   Google Scholar
• Song, H. L. 2016. “Editorial.” Journal of Chinese Cinemas 10 (1): 1–3. doi:10.1080/17508061.2016.1144706.
   Google Scholar
• Taylor, J. E. 2011. Rethinking Transnational Chinese Cinemas: The Amoy-dialect Film Industry in Cold War Asia. Routledge.
   Google Scholar
• Wang, Y. 2009. “Made in China, Sold in The United States, and Vice Versa—transnational ‘Chinese’ Cinema between Media Capitals.” Journal of Chinese Cinemas 3 (2): 163–176.
   Google Scholar
• Yeung, J. 2019. “Hong Kong Protesters Call for ‘mulan’ Boycott after Star Went Public in Support of Police.” CNN, August 19. https://edition.cnn.com/2019/08/16/asia/china-mulan-actor-protests-intl-hnk-trnd/index.html
   Google Scholar
• Yimou, Z. 2016. The Great Wall.
   Google Scholar
• Yonghun, F., M. E. Indelicato, and Z. Qiu. 2016. “Research Notes Towards a Definition of Huallywood.” Journal of Chinese Cinemas 10 (1): 54–60. doi:10.1080/17508061.2016.1139804.
   Web of Science ®Google Scholar
• Zhen, Z. 2015. “Problems in Huallywood.” China Policy Institute Blog/UoN Blogs. http://blogs.nottingham.ac.uk/chinapolicyinstitute/2015/07/03/hua-llywood-or-hollyw-ina/
   Google Scholar