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Chinas Igeneration Cinema And Moving Image Culture For The Twentyfirst Century Matthew D Johnson Keith B Wagner Tianqi Yu Luke Vulpiani Editors

  • SKU: BELL-50233936
Chinas Igeneration Cinema And Moving Image Culture For The Twentyfirst Century Matthew D Johnson Keith B Wagner Tianqi Yu Luke Vulpiani Editors
$ 31.00 $ 45.00 (-31%)

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Chinas Igeneration Cinema And Moving Image Culture For The Twentyfirst Century Matthew D Johnson Keith B Wagner Tianqi Yu Luke Vulpiani Editors instant download after payment.

Publisher: Bloomsbury Academic
File Extension: PDF
File size: 8.92 MB
Author: Matthew D. Johnson; Keith B. Wagner; Tianqi Yu; Luke Vulpiani (editors)
ISBN: 9781623565954, 9781501300103, 1623565952, 1501300105
Language: English
Year: 2014

Product desciption

Chinas Igeneration Cinema And Moving Image Culture For The Twentyfirst Century Matthew D Johnson Keith B Wagner Tianqi Yu Luke Vulpiani Editors by Matthew D. Johnson; Keith B. Wagner; Tianqi Yu; Luke Vulpiani (editors) 9781623565954, 9781501300103, 1623565952, 1501300105 instant download after payment.

This innovative collection of essays on twenty-first century Chinese cinema and moving image culture features contributions from an international community of scholars, critics, and practitioners. Taken together, their perspectives make a compelling case that the past decade has witnessed a radical transformation of conventional notions of cinema. Following China’s accession to the WTO in 2001, personal and collective experiences of changing social conditions have added new dimensions to the increasingly diverse Sinophone media landscape, and provided a novel complement to the existing edifice of blockbusters, documentaries, and auteur culture. The numerous ‘iGeneration’ productions and practices examined in this volume include 3D and IMAX films, experimental documentaries, animation, visual aides-mémoires, and works of pirated pastiche. Together, they bear witness to the emergence of a new Chinese cinema characterized by digital and, trans-media representational strategies, the blurring of private/public distinctions, and dynamic reinterpretations of the very notion of ‘cinema’ itself.

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