East Asia

In progress


Bao, Weihong. Fiery Cinema: The Emergence of an Affective Medium in China, 1915-1945. Minneapolis: University of Minnesota Press, 2015. 

——. “From Pearl White to White Rose Woo: Tracing the Vernacular Body of Nüxia in Chinese Silent Cinema, 1927-1931.” Camera Obscura 60 (2005): 193-231.

——. From Pearl White to White Rose Woo: Tracing the Vernacular Body of Nüxia in Chinese Silent Cinema, 1927-1931. In Exporting Perilous Pauline: Pearl White and the Serial Film Craze. Ed. Marina Dahlquist. Bloomington: University of Illinois Press, 2013. 160-186. 

Chen, Jianhua. “D.W. Griffith and the Rise of Chinese Cinema in Early 1920s Shanghai.” In The Oxford Handbook of Chinese Cinema. Eds. Carlos Rojas and Eileen Chow. Oxford: Oxford University Press, 2013. 23-38.

Fan, Xuepeng. “The Experience of Film Actress”/“一個電影演員的經歷.” People’s Daily/人民日報 (6 August 1960): 8. 

 ——. “Memories of My Screen Life”/“我的銀幕生活的回憶.”  China Films/中國電影. Vol. 2 (1956): 64-67. 

He, Xinleng. “My Impression of Great Wall Films”/“長城派影片所給我的印象.” Great Wall’s Special Issue The Hippocrates (1926): n.p.; Rpt. In Chinese Silent Cinema/中國無聲電影. Ed. Xiaolan Dai. Beijing: China Film Press, 1996. 1065-6.

Law, Kar. “In Search of Esther Eng: Border-crossing Pioneer in Chinese-language Filmmaking.” In Chinese Women’s Cinema: Transnational Contexts. Ed. Lingzhen Wang. New York: Columbia University Press, 2011. 313-329.

——. “Reexamining and Reconstructing the Legend of Hou Yao.” In Transcending Space and Time: Early Cinematic Experience of Hong Kong, Book II Pioneer Filmmaker Hou Yao. Ed. Winnie Fu. Hong Kong: Hong Kong Film Archive, 2014. 42-66.

Li, Guo. “Rethinking Theatrical Images of the New Woman in China’s Republican Era.” Comparative Literature and Culture vol. 15, no. 2 (2013): 1-9.

Shu, Ping. “The First Woman Script Writer: Pu Shunqing/第一個電影女編劇—濮舜卿.” New Film Work/電影新作 5 (1994): 62.

Wang, Hanlun. “How I Began My Film Career”/“我入影戲界之始末.” Cinema Magazine/電影雜誌 (Autumn 1925): n.p.

——. “My Experience with the Cinema”/“我的從影經過.” Chinese Cinema/中國電 影  no. 11 (1956.): n.p.; Rpt. in Remembering the Old Days/感慨話當年. Wang Hanlun et al.  Beijing: China Film Press, 1962. 50-59.

——. “My Experience with the Cinema”/“我的從影經過.” Chinese Cinema/中國電 影   no. 2 (1956.): n.p.; Rpt. in Chinese Silent Cinema/中國無聲電影. Ed. Xiaolain Dai. Beijing: China Film Press, 1996. 1471-77.

——. “Remembrance from the Film Studios”/“影場回憶錄.” Young Companion/良友 no. 64 (1929): n.p.; Rpt. in The Companion Pictorial: 1926-1945/良友人物: 1926-1945. Eds. Cheng Peide, Gao Yuanbao and Yang Yang. Shanghai: Shanghai Social Science Press, 2004. 107-113.

Wang, Lingzhen, ed. Chinese Women’s Cinema: Transnational Contexts. New York: Columbia University Press, 2012.

Wang, Yiman. “The Crisscrossed Stare: Protest and Propaganda in China’s Not-So-Silent Era.” Silent Cinema and the Politics of Space. Eds. Jennifer M. Bean, Anupama Kapse, and Laura Horak. Bloomington and Indianapolis: Indiana University Press, 2014. 186-209.

Xiao, Zhiwei. “Constructing a New National Culture: Film Censorship and the Issues of Cantonese Dialect, Superstition, and Sex in the Nanjing Decade.” In Cinema and Urban Culture in Shanghai, 1922-1943. Ed. Yingjin Zhang. Stanford: Stanford University Press, 1999. 183-199.

Xu, Daoming, and Sha Sipeng. A Brief History of Chinese Cinema/中國電影簡史. Beijing: China Youth Press, 1990.

Ye, Tan, and Yun Zhu. Historical Dictionary of Chinese Cinema. Plymouth, UK: Scarecrow Press, 2012.

Zhang, Yingjin. A Companion to Chinese Cinema. Malden, MA: Wiley-Blackwell, 2012.

Zhang, Zhen. An Amorous History of the Silver Screen: Shanghai Cinema, 1896-1937. Chicago: University of Chicago Press, 2002.

——.“Bodies in the Air: The Magic of Science and the Fate of the Early ‘Martial Arts’ Film in China.” Post ScriptEssays in Film and the Humanities vol. 20, no. 2-3 (Winter 2000): 43-60.


Gerow, Aaron. “From Misemono to Zigomar: A Discursive History of Early Japanese Cinema.” In Silent Cinema and the Politics of Space. Eds. Jennifer M. Bean, Anupama Kapse, and Laura Horak. Bloomington and Indianapolis: Indiana University Press, 2014. 157-85. 

Hori, Hikari. “Migration and Transgression: Female Pioneers of Documentary Filmmaking in Japan.” Asian Cinema vol. 16, no. 1 (2005): 89-97. 

Ikegawa, Reiko. Sakane Tazuko, Director of the Empire: Brides of the Frontier, 1943Man’ei/Teikoku no Eiga Kantoku Sakane Tazuko: “Kaitaku no hanayome,” 1943-nen, Man’ei. Tokyo: Yoshikawa Kōbunkan, 2011.

Ikegawa, Reiko and Julian Ward. “Japanese Women Filmmakers in World War II: A Study of Sakane Tazuko, Suzuki Noriko and Atsugi Taka.” In Japanese Women Emerging from Subservience, 1868-1945. Eds. Gordon Daniels and Hiroko Tomida. Folkestone, UK: Global Oriental, 2005. 258-277.

Kinoshita, Chika. “The Benshi Track: Mizoguchi Kenji’s ‘The Downfall of Osen’ and the Sound Transition.” Cinema Journal vol. 50, no. 3 (Spring 2011): 1-25.

Komatsu, Hiroshi. “Some Characteristics of Japanese Cinema Before World War I.” In Reframing Japanese Cinema: Authorship, Genre, History. Eds. Arthur Noletti Jr. and David Desser. Bloomington: Indiana University Press, 1992. 229-258

McDonald, Keiko. “Daring To Be First: The Japanese Woman Director Tazuko Sakane (1904-1971).” Asian Cinema vol. 18, no. 2 (2007): 128-46.

Morimoto, Maries Thorsten. “The ‘Peace Dividend’ in Japanese Cinema.” In Colonialism and Nationalism in Asian Cinema. Ed. Wimal Dissanayake. Indiana University Press, 1994. 11-29.

Ogihara, Junko. “The Exhibition of Films for Japanese Americans in Los Angeles During the Silent Film Era.” Film History vol. 4, no. 2 (1990): 81-87.

Ōnishi, Etsuko. The Woman Who Loved Mizoguchi Kenji: Life of the First Female Director Sakane Tazuko/Mizoguchi Kenji o aishita onna: jōryū eiga kantoku dai ichi-gō, Sakane Tazuko no shōgai. Tokyo: San’ichi Shobō, 1993.