[Commlist] New featured content on Screen Studies: Cinema of Mainland China

We are excited to announce that the latest featured content 
<https://www.screenstudies.com/featured-content> has launched today on 
Screen Studies <https://www.screenstudies.com/>, focusing on the history 
of cinema in Mainland China.

Since Shanghai's Golden Period of the 1930s, film production in China 
has undergone alternating periods of boom and collapse, with varying 
degrees of state control and censure. These same conditions have also 
made it so that, rather than a singular centre of cinema production, 
there have developed several distinct national cinemas, primarily those 
of Mainland China, Hong Kong, and Taiwan. Through a *new short essay and 
nine free-to-view chapters*, the new featured content allows you to:

  * Delve in to the complexities of cinema during Seventeen Years
    (1949-1966) with this chapter

<https://www.screenstudies.com/encyclopedia-chapter?docid=b-9781838711337&tocid=b-9781838711337-chapter9&pdfid=9781838711337.ch-009.pdf> from
    /The Chinese Cinema Book/, and examine how a narrow range of
    state-sanctioned subject matter and style led to a decline in film
    production

  * Analyse the rapid expansion of television stations, coverage,
    ownership of TV sets, and the increased demand for television
    programming that occurred in the decade after the Cultural
    Revolution in this chapter

<https://www.screenstudies.com/encyclopedia-chapter?docid=b-9780203798751&tocid=b-9780203798751-chapter5&pdfid=9780203798751.ch-005.pdf> in
    /Television Regulation and Media Policy in China/
  * Explore the rise of the geren dianying (personal film) during the
    1990s in this chapter

<https://www.screenstudies.com/encyclopedia-chapter?docid=b-9781501312663&tocid=b-9781501312663-chapter18&st=jia+zhangke%27s+hometown> from
    /The Global Auteur/. These personal films engage the viewers in a
    cinematographic experience in which the self and the other, the
    subjective and the objective, are renegotiated
  * Examine the way in which critics dichotomised 1930s Shanghai cinema
    into Hard films (yingxing dianying) and Soft films (ruanxing
    dianying), and how some films, such as Zhengqiu Zheng’s /Zimei
    hua/ (Twin Sisters, 1934) rebelled against that dichotomy, inthis
    chapter

<https://www.screenstudies.com/encyclopedia-chapter?docid=b-9781838711337&tocid=b-9781838711337-chapter6&st=shanghai+cinema> from
    /The Chinese Cinema Book/
  * Consider the way in which film culture exists at the local and
    subnational level in a large nation like China in this chapter

<https://www.screenstudies.com/encyclopedia-chapter?docid=b-9781350234215&tocid=b-9781350234215-0000111&pdfid=9781350234215-006.pdf#ftn.b-9781350234215-5000016>from
    /Contemporary Chinese Cinema and Visual Culture/

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Also new to Screen Studies this month is our spotlight piece, focusing 
on//*Jia Zhangke*, one of China’s leading independent filmmakers.//


Our Spotlight piece on the filmmaker 
<https://www.screenstudies.com/spotlight>, a key figure of the Sixth 
Generation, opens up *two free-to-view chapters *that explore the ways 
in which Jia captured the realities of contemporary urban life in his 
work, and how his filmic impulse was born out of the rapid social and 
infrastructural changes taking place in Chinese cities during the 1990s.

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