Cambria Press Publication Review: Supernatural Sinophone Taiwan and Beyond

Congratulations to Professor Chia-rong Wu on the excellent review of his book, Supernatural Sinophone Taiwan and Beyond, in the journal Modern Chinese Literature and Culture (MCLC).

Sinophone

The review praises the book, noting that it is “a most welcome addition to the burgeoning field of Sinophone studies” and “makes important contributions to the field.” It further states that:

Through a meticulous delineation of the literary aesthetic trajectory, reformulation, and deformation of the zhiguai genre from traditional Chinese culture to modern and contemporary Sinophone Taiwan, Supernatural Sinophone Taiwan and Beyond succeeds in advancing the field of Sinophone studies in several critical directions. First, it demonstrates the spectral and supernatural genre’s stylistic diversification into the terrains of magical realism, nativism, and translocalism. Second, it reveals the complex histories and narratives of migration, displacement, and global diasporas in both contextual and textual literary production. Furthermore, the emphasis on the literary form and expressive potential of the supernatural and the strange reconfirms the critical value of literature itself, which Gayatri Chakravorty Spivak has called the value of ‘unverifiability.’ Finally, engaging with voices and figures that dwell in the shadows of mainstream historicism, nationalist historiography, China-centrism, and patriarchal violence, the book gestures alternatively toward the marginal, the feminist, the racially marked, and the queer. In so doing, Supernatural Sinophone Taiwan and Beyond charts a new direction at the intersections of Sinophone studies, Chinese literary studies, Taiwan studies, and gender studies.

Supernatural Sinophone Taiwan and Beyond is in the Cambria Sinophone World Series headed by Victor H. Mair (University of Pennsylvania).

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Author Interview with Carolyn T. Brown on Reading Lu Xun Through Carl Jung

The following is an interview with Dr. Carolyn T. Brown, author of the new book Reading Lu Xun Through Carl Jung, which is part of the Cambria Sinophone World Series, headed by Victor Mair (University of Pennsylvania).

Cambria Press Publication Author Carolyn Brown Lu Xun

 

Why did you decide to write this book?
Carolyn T. Brown: The seeds of this book lie in the mid-1980s when I was an academic in Chinese literature. My career took a turn away from academia, and the book sat in the drawer for several decades. But the nascent book wouldn’t allow me to forget it. So after I retired, I refurbished my reading knowledge of Chinese and finished the book. Somewhere during those decades I encountered the work of Carl Jung and over time, the resonances between the two emerged naturally for me. In the end, there were two questions that drove the book: why were Lu Xun’s stories so personally compelling to me and what did he mean by wanting to cure the spirits of the Chinese people. I found these questions so compelling that in the end it was easier to write the book than to not write it.

What do you hope your readers take away from your book?
CTB:
Naturally I hope that readers will gain a more precise appreciation for Lu Xun’s psychological depth and masterful techniques, and also a deepened sense of why he might have been, and still is, important in China. For those not overly interested in China but deeply interested in literature and psychology, I hope my analysis will suggest new historical connections between Chinese and Western literature. I am well aware that it is out of fashion to speak of certain universal features of human life, which is labeled “essentializing,” and I understand that superficial statements about how “we’re all the same” usually involve colonialist impositions by “us” onto the “them.” Nevertheless, human beings do wrestle with some of the same deep issues, and the human similarities lie at that level of questions, not necessarily of answers. For example, Lu Xun deeply pondered the issue of scapegoating, and as best I can tell, that psychological syndrome has been alive and well in all societies over time. So I hope readers will see, in addition to the enormous differences of history and culture, similarities in the issues that troubled this sensitive man and that still trouble us today. In addition I hope that readers in China will find that my reading of Lu Xun gives them further permission to think about their great writer not just in terms of history and politics, which have been, quite appropriately, the driving force in Chinese interpretations of his work, but also will find in the book a further way of appreciating his sensitive pondering of illness and health at multiple levels of society and self, questions that are perennial.

What other research do you believe is useful on this topic?
CTB: The book itself suggests two questions ripe for further study. Scholars who have wondered about the influence of Western literature on Lu Xun’s short stories have focused on issues of content. My book suggests influence in structural elements, in particular Lu Xun’s use of the literary techniques of doubling and splitting, which was prevalent in nineteenth-century Europe. I would love to see someone take a list of the books that he was known to have read and trace parallels in the literary techniques that he used, not just those of doubling and splitting, but multiple “tricks of the literary trade,” including use of quotation and summary, ordering of plot elements, and so forth. A good knowledge of literary techniques in the Chinese tradition would help reveal what exactly Lu Xun did that was new to China and probably also what was different from the same Western writers.

Another issue that surfaced but which I wasn’t able to pursue was a new way of thinking about Nietzsche’s influence on Lu Xun. Prior studies that I encountered looked at issues of content. I stumbled upon parallels in the way each man frames his questions, and in fact these parallels in structure shed light on the works of Carl Jung as well. I suspect that there is a lot more to discover about the structure of thinking of these two when viewed together. It is even possible that a focus on structure will illuminate the work of other writers and thinkers of that period.

About the author: Carolyn Thompson Brown is retired from her position as Director of the Office of Scholarly Programs and the John W. Kluge Center of the Library of Congress. She holds a PhD in Literature from American University and an MA and BA from Cornell University. She served as Associate Dean for Humanities at Howard University before moving to the Library of Congress, where she held numerous positions including Director of Area Studies Collections. During her academic career she published in several journals, including CLEAR and Modern Chinese Literature, and edited Psycho-sinology: the Universe of Dreams in Chinese Culture. She serves as a trustee of the Fetzer Institute.

Title: Reading Lu Xun Through Carl Jung
Author:
 Carolyn T. Brown
Publisher: Cambria Press
ISBN: 9781604979374
312 pp.  |   2018   |   Hardback & E-book
Book Webpage: http://www.cambriapress.com/books/9781604979374.cfm

See also Dr. Brown’s speech for her book launch at the 2018 Association of Asian Studies conference in Washington, DC.

Kaldis

See also The Chinese Prose Poem: A Study of Lu Xun’s “Wild Grass (Yecao)”
by Nicholas A. Kaldis.

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Haun Saussy Presents Victor Mair with Surprise Festschrift at Cambria Press AAS 2018 Reception

Cambria Press Publication Author Haun Saussy Victor Mair

What took place on the evening of March 24, 2018, in Washington, DC, was one of the most unforgettable events in AAS history, and probably any academic conference.

The evening began with short speeches about new books by Shen Jiawei and Mabel Lee, Albert Welter, Jonathan Stalling, Megan M. Ferry, Christopher Rea, Liu Jianmei (and Mabel Lee), and Carolyn T. Brown.

Then Professor Haun Saussy was asked by Toni Tan, director of Cambria Press, to come up to speak. While Professor Mair was aware that Professor Saussy was working on an edited volume, he had no idea that this was a festschrift being put together in his honor and that it would be unveiled that very night. So when Toni Tan asked Professor Saussy to take the stage, Professor Mair was under the impression that Professor Saussy was coming up just to say a few words about the forthcoming book. Little did he know that he would be presented with the highly anticipated top-secret volume that was the talk of the AAS.

After Professor Saussy gave his speech and presented the festschrift, Texts and Transformations: Essays in Honor of the 75th Birthday of Victor H. Mair, the birthday surprises did not end there. Toni Tan gave a speech about Professor Mair and then announced that a surprise mystery guest had come all the way specially to Washington, DC, to present Professor Mair with his birthday cake and lead the crowd in singing “Happy Birthday” (in Chinese and English). It was a wonderful night celebrating Cambria authors and honoring Professor Victor Mair, a most beloved scholar who has helped so many in and outside the field.

Watch the video of the astonishing and incredibly heartwarming event, including speeches by Haun Saussy and Toni Tan, the surprise mystery guest who wheeled in the huge birthday cake, and finally by Victor Mair (whose reaction was wonderful and priceless)!

More photos of the event will be posted on Facebook and Twitter soon.

Victor Mair

Order your copy of Texts and Transformations: 
Essays in Honor of the 75th Birthday of Victor H. Mair today!

Editor: Haun Saussy
Publisher: Cambria Press
ISBN: 9781604979565
486 pp.  |   2018   |   Hardback & E-book
Book Webpage: http://www.cambriapress.com/books/9781604979565.cfm

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Cambria Press Author Carolyn T. Brown – Speech at AAS 2018 Reception

Cambria Press author Dr. Carolyn T. Brown, retired Director of the Office of Scholarly Programs and the John W. Kluge Center of the Library of Congress, gave a speech about her book, Reading Lu Xun Through Carl Jung, at the Cambria Press reception at the AAS 2018 conference in Washington, DC.

Watch Dr. Carolyn Brown’s speech and/or read the transcript below.

 

Cambria Press Publication Author Carolyn Brown

“I always seem to do things a little bit differently from other people, so my questions are questions that I’ve asked myself over many years, and they are embedded in my comments.

My first encounter Lu Xun’s short stories occurred during my sophomore year at Cornell University in a survey course in modern Chinese literature in translation. We must have read several of his iconic stories, undoubtedly “A Madman’s Diary” and “The True Story of Ah Q”. One particular story sent me reeling. When I reached the conclusion of “The New Year’s Sacrifice,” my whole being recoiled in a physiological grimace. I knew something had happened to make me almost double over in pain, but I did not know what. No short story I had ever read had ever delivered such a visceral punch before.

In the decades that followed, I asked myself multiple times why I, a black woman from Queens, New York, would have found Lu Xun’s stories so compelling, why I would have returned to them repeatedly through the years, why their importance increased to the point of consuming hours of my attention through the hard times of my life, why during my career as an academic I would write about them, and why in my post-academic career I would still find the need to close the circle and write this book.

My presence in that Cornell classroom was, in the first place, a bit unlikely. When I entered college, I knew virtually nothing about China. I had never met anyone who came from China or who had lived there, as best I can recall; nor had I felt a particular urge to visit China myself, not that I could have because at that time Americans were barred from travel to “Red China” as it was called. But I had received a rigorous high school training in the “history of civilization,” which as it was then taught was the heroic history of the great white men of Western Europe and the United States. My immature intellect knew enough from my family’s history to know that black people were a full part of the American story even though the textbooks omitted that fact. From my mother’s chinoiserie home décor and a few books in our family library, I also knew that “civilization” included China, which had as much (or more) history and culture—art, literature, philosophy, and so forth—as Europe, and the quality was as good or better. Out of revenge for “the lies” I had been taught, once in college I turned to China, being too young and inexperienced to know that all nations lie to some degree about their histories. I wanted truth!

So there I was, studying Chinese history, language, and literature and reading stories by the man who, for much of the twentieth century, was considered modern China’s greatest writer. He was a central figure in the tumultuous decades of that century, both a product of his time and an agent giving it shape. He is still appreciated for his profound insights into the nature of Chinese society, his dedication to ending the suffering of his nation’s populace, his deep moral integrity, and his unrelenting commitment to self-scrutiny. He never relented in his struggle against the forces that stood in the way of a more humane China, even though he despaired of success. Whatever my initial motivation, there I was, sitting in that classroom, deeply moved by these stories from a different time and place. Why?

Lu Xun’s stories stories are clear-eyed critiques of the social norms and conditions of Chinese society that were, in his eyes and those of many of his reform-minded contemporaries, essential causes of China’s insufficient response to the calamities visited upon it by the forced encounter with Western imperial powers. Lu Xun took what was known, familiar, and accepted and exposed it to be cruel and inhumane, and so opened his readers’ eyes to seeing and understanding in new ways. I had felt the impact of that wrenching reversal of perspective without quite knowing what was acting upon me.

In later years, during my own hard times, I probed my own psyche in an attempt to understand unfortunate patterns of my own creation that were shaping my life and causing me considerable suffering. At the same time in my professional life as an academic I was also living with these short stories, searching below their surfaces for patterns that shaped them. As I was rethinking the narrative patterns of my life, I found myself drawn more fully into Lu Xun’s rewriting of the narrative of his contemporary Chinese reality, looking for the internally generated cultural patterns which had been bequeathed by that tradition and which, to his mind, accounted for dysfunctional dimensions of China’s interaction with external forces and events. In interrogating his texts, I found myself searching for embedded structures that were generating these manifestations, a process analogous to the tasks I was performing in my own life. Somewhere along the way, I encountered the work of Carl Jung and over time began to see the connections between his work, Lu Xun’s analyses, and my life’s journey. This book is the result of that process of inquiry and the best answer I can give to my wonderment about the capacity of these short stories to touch me so profoundly.

My thanks to Cambria Press and all the wonderful friends who have helped me over the decades to bring this book to fruition. Thank you.”

* * * * *

About the book

Scholars who study Lu Xun’s modern short stories have usually focused on the content and used the stories to understand Lu Xun the writer or to sheds light on his times; they have attended to the structure only to the degree that it illuminates these concerns. This study executes a reversal, decentering the content and focusing on the structure as a primary means to understand the texts, and it seeks to understand the Lu Xun who presents himself through his work, not Lu Xun the full human being. The structure that emerges from a close reading of the stories does indeed present an implicit therapeutic model. Carl Jung’s theories of the normative human self articulate with some precision Lu Xun’s implicit vision of spiritual cure. Jung, one of three key founders of modern Western psychology, grounded his understanding of the human psyche in personal self-scrutiny and extensive clinical practice, and so his theories offer a validated psychological model for interpreting the textual evidence.

Reading Lu Xun Through Carl Jung thus deploys a new methodology and proposes a new model for interpreting Lu Xun’s two collections of modern short stories. Perhaps more important is that understanding Lu Xun’s psychological model opens new ways of imagining the relevance of his stories to timeless human concerns. Contemporary scholars increasingly ask about Lu Xun’s value now that the overt subjects of his concerns have receded into the past, and they have also looked to understand his role in the context of the international intellectual currents of his time. Although not primarily concerned with the sources of Lu Xun’s creativity, this study does suggest resonances between the structure of his thought as revealed in the stories and that of key nineteenth-century European philosophers and writers. Even while being firmly grounded in his own times, Lu Xun evoked universal themes and archetypes of the human condition. This book will appeal to scholars in Asian studies, comparative literature, and psychology.

Title: Reading Lu Xun Through Carl Jung
Author: Carolyn T. Brown
Publisher: Cambria Press
ISBN: 9781604979374
312 pp.  |   2018   |   Hardback & E-book
Book Webpage: http://www.cambriapress.com/books/9781604979374.cfm

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Cambria Press Author Liu Jianmei – Speech at AAS 2018 Reception

Cambria Press author Professor Liu Jianmei, Professor of Chinese Literature at Hong Kong University of Science and Technology, gave a speech about her book, Gao Xingjian and Transmedia Aesthetics, coedited with Mabel Lee, at the Cambria Press reception at the AAS 2018 conference in Washington, DC.

Watch Professor Liu Jianmei’s speech and/or read the transcript below.

Cambria Press Publication Author Liu Jianmei

“I will jump right to the first question people ask about our book, which is what does your book bring that is new to Gao Xingjian studies? Previous studies on Gao Xingjian usually focus on particular areas of his fiction, plays, painting, film or poetry, or used his essays to explore his ideas on literature and creative aesthetics. This new book, which I have coedited with Mabel Lee, aims to cross the boundaries of these media, and to provide a comprehensive investigation of Gao Xingjian’s creations and ideas. The purpose of this is to showcase his transcultural, transdisciplinary, and transmedia explorations, and examine how he has persistently projected the struggles and agonies of the individual’s inner landscape into vivid images on stage, in films, in black-and-white paintings, and in the multilayered narrative expressions in fiction and poetry, and even in dance and music.

The second question people ask is what is different in your approach to this volume? Well, this volume crosses the boundaries of traditional academic writing and takes the reader to the in-between spaces of different styles of writing, research, and commentary, which help us better understand Gao’s endeavors in literary, theatrical, and pictorial creation and their accompanying philosophical insights. The chapters in this book transgress the boundaries of different media and genres—fiction, drama, poetry, painting, film—in their deliberations, and these diverse approaches serve to broaden the scope of Gao Xingjian research through what can be described as a dimension of heightened freedom, that is suggestive of Chan Buddhist comprehension. Gao Xingjian often states that for him creative innovations emerge at boundaries and in-between space. The aim of this collection thus seeks to explore such boundaries and in-between spaces in academic research on Gao Xingjian.

Finally, I want to thank Toni Tan and Victor Mair for their strong support of our new book. I also want to thank our contributors for their excellent essays and David Armstrong for his patience and help through the whole process of publication. We are really grateful to Cambria Press.

* * * * *

About the book

Since Gao Xingjian’s Nobel win in 2000 he has demonstrated his profound erudition across cultures in his creative explorations in literature and the visual arts. His intense intellectual curiosity can seldom be matched by his contemporaries, and his creative achievements in literature, the dramatic arts, painting, and film have been extraordinary, and have been reflected in his aesthetic treatises on art and literature. English-language publications have been in the forefront of Gao Xingjian research since the 1980s, and this book fills a Gao Xingjian research hiatus simply because it is hard to keep abreast of his stridently innovative creations. This volume brings readers up to date on Gao Xingjian, who is probably in this age of uncertainties, one of the foremost aesthetes in literature and the visual arts.

Gao Xingjian and Transmedia Aesthetics demonstrates the extensive reach of Gao Xingjian’s transcultural, transdisciplinary and transmedia explorations. Showcased here is the panoramic aesthetics of a polymath who has successfully personified modern-time renaissance by projecting the struggles of the individual’s inner landscape into vivid images on stage, film, black-and-white paintings, and in the multilayered narrative expressions of fiction and poetry, even dance and music, to evoke a sense of sincerity and authenticity that penetrates a viewer/reader’s heart. The volume is divided into four parts: philosophical inquiry; transdiscipline, transgenre, transculture; cine-poems with paintings, dance and music; and identifying and defining the self. The chapters probe different aspects of Gao Xingjian’s work, bearing testimony to their diverse specializations.

This book will appeal to Chinese literature scholars, undergraduate and graduate students, and general readers with an interest in the broad subjects of contemporary Chinese literature, high arts, avant-garde culture, women’s and gender studies, Sinophone film and transmedia culture, comparative literature, and cultural studies.

Title: Gao Xingjian and Transmedia Aesthetics
Editors: Mabel Lee and Liu Jianmei
Publisher: Cambria Press
ISBN: 9781604979466
362 pp.  |   2018   |   Hardback & E-book
Book Webpage: http://www.cambriapress.com/books/9781604979466.cfm

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Cambria Press Author Megan M. Ferry – Speech at AAS 2018 Reception

Cambria Press author Professor Megan Ferry, Associate Professor of Chinese and Asian Studies and Chair of the Modern Languages and Literatures Department at Union College, gave a speech about her book, Chinese Women Writers and Modern Print Culture, at the Cambria Press reception at the AAS 2018 conference in Washington, DC.

Watch Professor Megan Ferry’s speech and/or read the transcript below.

Cambria Press Publication Author Megan Ferry

“My story about this book begins when I was about twelve years old. I read about land reform and I just saw individual role models that got me excited and I just had to go to China and find out more.

So the first question I’ll give you is how I did get started on writing this book? The books we write represent important stories of our selves. They are life questions that nag us until we are able to bring them to expression. This book took about 20 years to write. I rewrote it at least six times, completely, and the stories were not ready to come out, and I was ready to shelve it just as many times, if not more. And yet, it is a book that is appropriate for this time of the #MeToo movement, the crackdown on the “feminist five” because it evokes a lot of questions about social justice, liberation, and universal human rights, as we certainly saw today at the Mall here in Washington, DC, and the dominant ideologies that construct the filters that determine how we think and feel.

So, my story begins with seeing in the Chinese women writers of the early 20th century as role models who were wanting to effect change in their culture and were also passionate about contributing to China. And as I read about the critics, the friends, and the lovers, I was constantly surprised by them saying they would qualify the women by saying “Oh, but Xiaohong, she wears her hair in pigtails” or “Ding Ling is a little bit short and stocky” and I’m thinking what does that have to do with her being a woman writer. Or they say that women writers only write about love, but when we read we see that there’s much more going on, much more than what meets the eye.

And what I realized is that women writers are qualified not by what they are writing, but the whole system of the publishing industry, which qualifies how we are supposed to read and understand them. So I went to China and was in the archives, looking through the journals for two years and went to interview scholars on Ding Ling. In particular, I encountered male scholars who, when I would ask them about women writers, they would seem to tell me to veer the conversation toward why did their female students look better–had better hair, better dress, better clothes–because they were kept women of many overseas businessmen. So there was some lamentation in there, and perhaps some jealousy. Another male scholar, a prominent male scholar on modern Chinese literature and Ding Ling–when I went to interview him about Ding Ling, he proceeded to show me nude photos of himself and asked me what I thought, to my surprise. What I realized was that these scholars had encountered a Western female scholar coming to asking about women writers, and what I also realized was that this was another story that was ready to be told as well.

So here I was, a young Western female scholar in China, encountering many different things but certainly understanding about the gender-culture encounters that we have through our mediated world.

The second question we ask is why did discussions of Ding Ling lead seamlessly to male scholars’ discussion of their gendered contemporary milieu and sexuality? In this media-driven world, this very heterogeneous society that we live in, is often very narrowly defined by the power of the few who own those media. Being familiar with media and how it operates in the West, I was looking into and seeing what was happening in China. I laid my hands on as many stories as I could find within China, and what I have seen is how deeply entrenched the gender norms are, equally in China as they are here in the U.S., how they are also reiterated in the media and that’s how we also learn how to construct our world and see our world as common sense. So, what I’m looking at is the structures, what we call the paratexts, for constructing how we understand those women writers–not just the pigtails, not just the stories that they write.

I would like to thank Toni Tan tremendously for the many years that she has been supportive as I hemmed and hawed about whether this book should come to print. I would also like to thank Professor Victor Mair for allowing my book to appear in the Cambria Sinophone World Series. It’s an honor. You’ve created an excellent series for Sinological studies, and it’s an honor to be with so many wonderful colleagues. So I thank you very much.”

* * * * *

About the book

The widespread public exposure of modern Chinese women writers in the 1920s and 1930s generated interest in women’s creative output. The publishing field was the chief cultural forum within which other women looking for role models assessed their experiences in modernity. At the same time, however, this forum was limited by parameters that defined the labor of “women writers” (nüzuojia) as largely sentimental, unstructured, politically disengaged or naively subjective and unable to see the “larger picture” of humanity. Therefore, the value of women’s creative output was classified alongside the dominant narrative that conditioned readers’ responses to women’s literary output as evidence of women’s incomplete emancipation. The liberation of the newly styled women occurred in an industry whose power was the basis of the nation’s new cultural construction, yet despite there being exemplary women within the industry, there is no evidence of women as drivers of culture or in sustained cultural leadership roles to the same extent or with the same cultural weight as their male peers.

Women intellectual’s status as cultural producers, as it was codified in print media, has yet to be more fully explored so that we can better understand the relationship between gender ideologies and media. By deconstructing the hidden visual and linguistic signs of modernity’s promise for women’s equality and freedom one can begin to understand why, a century later, contemporary female authors confront obstacles similar to their pre-1949 predecessors. The social category of “women writers” is one among many that lets us examine how media’s visual and linguistic signs of difference express cultural identity norms and codify the modern individual.

Employing media analysis to examine the way paratexts create and reproduce gendered norms, especially through persistent material and discursive mechanisms that framed women authors and their textual production, Chinese Women Writers and Modern Print Culture is the first study to analyze the gendered ideologies of Chinese print media and political culture in a single work. It is thus  an important book for scholars in the fields of Asian studies, media studies, and women and gender studies.

Title: Chinese Women Writers and Modern Print Culture
Author: Megan M. Ferry
Publisher: Cambria Press
ISBN: 9781604979381
290 pp.  |   2018   |   Hardback & E-book
Book Webpage: http://www.cambriapress.com/books/9781604979381.cfm

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Cambria Press Publication Review: Zhang Yimou

Congratulations to Professor Wendy Larson on the outstanding review of her book Zhang Yimou: Globalization and the Subject of Culture in the journal Modern Chinese Literature and Culture (MCLC)!

#AAS2018

 

The book review notes:

“At 420 pages, Zhang Yimou: Globalization and the Subject of Culture is a magnum opus. … Although I have emphasized the themes that run through the book here, each chapter in Zhang Yimou: Globalization and the Subject of Culture is autonomous, making it possible to assign individual chapters for classroom use. Larson writes lucidly and persuasively … Taken together, as I hope I have shown, the chapters combine to produce one of the most detailed and sustained analyses of a certain trajectory through much of Zhang’s most powerful work. They make a persuasive case for taking the popular in contemporary Chinese culture seriously, regardless of questions of taste. Larson’s rich and engaging book is a seminal text in Zhang studies. … Larson’s welcome book reminds us that although the field of Chinese cinema studies has grown and diversified, it is perhaps in the realm of popular film that the most work remains to be done. Zhang Yimou: Globalization and the Subject of Culture takes a huge step down that road.”

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