This book is the first anthology of research devoted to the booming world of Chinese film festivals, covering both mainstream and independent films. It also explores festivals in the Chinese-speaking world and festivals of Chinese films in the rest of the world. The book asks how Chinese film festivals function as sites of translation, translating Chinese culture to the world and world culture to Chinese-speaking audiences, and also how the international film festival model is being transformed as it is translated into the Chinese-speaking world.

Autorentext

Chris Berry is Professor of Film Studies at King's College London, UK. His primary publications include Cinema and the National: China on Screen; Postsocialist Cinema in Post-Mao China: the Cultural Revolution after the Cultural Revolution; Public Space, Media Space; and The New Chinese Documentary Film Movement: For the Public Record.

Luke Robinson is Lecturer in Film Studies at the University of Sussex, UK. He is the author of Independent Chinese Documentary: From the Studio to the Street, and book chapters and articles on Chinese-language feature film, animation, documentary, and film festivals.

Inhalt

.Introduction.- .Section 1: Translating the Film Festival.- .A: International Film Festivals in the Chinese Speaking World.- .1. Chris Berry, Shanghai and Hong Kong: A Tale of Two Festivals..- .2. Elena Pollacchi, 'Mature at Birth': The Beijing International Film Festival between the National Film Industry and the International Film Circuit..- .3. Ming-yeh T. Rawnsley, Culture Translation between 'Local' and 'International': The Golden Harvest Award Festival in Taiwan..- .B: Specialized Independent and Small Film Festivals in the Chinese-Speaking World.- .4. Hongwei Bao, Queer as Catachresis: The Beijing Queer Film Festival in Cultural Translation..- .5. Flora Lichaa, The Beijing Independent Film Festival: Translating the Non-Profit Model into China..- .6. Nikki J.Y. Lee and Julian Stringer, 'China's Sundance' and Corporate Culture: Creating Space for Young Talent at the Tudou Video Festival..- .7. Esther C.M. Yau, WhatCan Small Festivals Do? Towards Film Festivals as Testimony to Expanded Civic Engagement in Post-handover Hong Kong..- .8. Sabrina Qiong Yu and Lydia Dan Wu, The China Independent Film Festival and Chinese Independent Film Festivals: Self-Legitimization and Institutionalization..- .C: Chinese Film Festivals Outside the Chinese-Speaking World.- .9. Luke Robinson, Sole Traders, Cultural Brokers, and Chinese-Language Film Festivals in the United Kingdom: The London Taiwan Cinefest and the Chinese Visual Festival..- .Section 2: Translating Culture.- .A: International Film Festivals in the Chinese-Speaking World.- .10. Dina Iordanova, Yingying, Zhenzhen and Fenfen? China at the Festivals..- .11. Ma Ran, Programming China at the Hong Kong International Film Festival and the Shanghai International Film Festival..- .12. Gina Marchetti, Clara Law's Red Earth: The Hong Kong International Film Festival and the Cultural Politics ofthe Sponsored Short..- .B: Specialized Film Festivals in the Chinese-Speaking World.- .13. Jenny Chio, Rural Films in an Urban Festival: Community Media and Cultural Translation at the Yunnan Multi Culture Visual Festival..- .14. Su-Anne Yeo, Translating the Margins: New Asian Cinema, Independent Cinema, and Minor Transnationalism at the Hong Kong Asian Film Festival..- .15. Cindy Wong, Translating Chinese Film Festivals Three Cases in New York..- .C: Chinese Film Festivals outside the Chinese-Speaking World.- .Chinese Character Lists.- .Notes on Contributors.