乐文小说网

手机浏览器扫描二维码访问

张艺谋 佻达飞扬的色彩14（第1页）

Callahan，W.A.“Gender，Ideology，Nation:JuDouintheCulturalPoliticsofChina.”East-WestFilmJournalVII，no.I（January1993）:52-80.

Chow，Rey.“WeEndure，ThereforeWeAre:Survival，Government，andZhangYimou’sToLive.”InReyChow，EthicsAfterIdealism:Theory-Culture-Ethnicity-Reading，pp.113-132.NewYork:ColumbiaUniversityPress，1998.

——.“TheForceofSurfaces:DefianceinZhangYimou’sFilms.”InReyChow，InPrimitivePassion:Visuality，Sexuality，Ethnography，andContemporaryChineseCinema，pp.142-172.NewYork:ColumbiaUniversityPress，1995.

——.“NotOneLess:TheFableofMigration.”InChrisBerry，ed.，ChineseFilmsinFocus:25NewTakes，pp.144-151.London:BFIPublishing，2003.

Cui，Shuqin.“GenderedPerspective:TheConstructionandRepresentationofSubjectivityandSexualityinJuDou.”InSheldonLu，ed.，TransnationalChineseCinema:Identity，Nationhood，Gender，pp.303-330.Honolulu:UniversityofHawaiiPress，1997.

Deppman，Hsiu-Chuang.“Body，Space，andPower:ReadingtheCulturalImagesofConcubinesintheWorksofSuTongandZhangYimou.”ModernChineseLiteratureandCulture15，no.2（Fall2003）:1221-153.

Dolye，Christopher.“R34G38B25.”HongKong:SystemsDesignLimited，2003.

Kong，Haili.“SymbolismThroughZhangYimou’sSubversiveLensinHisEarlyFilms.”AsianCinema8，no.2（Winter1996-97）:98-115.

Larson，Wendy.“ZhangYimou’sToLiveandtheFieldfoFil”InMichaelHockx，ed.，TheLiteraryFieldofTwentieth-CenturyChina，pp.178-197.Honolulu:UniversityofHawaiiPress，1999.

Lau，JennyKwokWah.“Judou:AnExperimentinColorandPortraitureinChineseCinema.”InLindaErichandDavidDesser，eds.，CinematicLandscapes:ObservationsontheVisualArtsandCinemaofChinaandJapan，pp.127-145.Austin:UniversityofTexasPress，1994.

Lu，SheldonH.“ChineseFilmCultureattheEndoftheTwentiethCentury:TheCaseofNotOneLessbyZhangYimou.”InSheldonH.LuandEmileYueh-yuYeh，eds.，Chinese-LanguageFilm:Historiography，Poetics，Politics，pp.120-137.Honolulu:UniversityofHawaiiPress，2005.

——.“NationalCinema，CulturalCritique，TransnationalCapital:TheFilmofZhangYimou.”InSheldonLu，ed.，TransnationalChineseCinema:Identity，Nationhood，Gender，pp.102-137.Honolulu:UniversityofHawaiiPress，1997.

——.“UnderstandingChineseFilmCultureattheEndoftheTwentiethCentury:TheCaseofNotOneLessbyZhangYimou.”JournalofModernLiteratureinChinese4，no.2（2001）:123-142.

Lu，Tonglin.“TheZhangYimouModel.”InTonglinLu，ConfrontingModernityintheCinemasofTaiwanandMainlandChina，pp.157-172.Cambridge:CambridgeUniversityPress，2002.

MoYan.RedSorghuTrans.HowardGoldblatt.NewYork:Penguin，1993.

——.Shifu，You’llDoAnythingforaLaugh.Trans.HowardGoldblatt.NewYork:Arcade，2001.

Mu，Aili.“ImaginaryConstructsasInstrumentsofCriticalEngagement:TitanicReferenceinZhangYimou’sTheRoadHome.”AsianCinema14，no.2（FallWinter2003）:35-54.

SuTong.RaisetheRedLantern.Trans.MichaelDuke.NewYork:Penguin，1993.

Sutton，DonaldS.“Ritual，History，andtheFilmsofZhangYimou.”East-WestFilmJournal8，no.2（1994）:31-46.

Tam，Kwok-kanandWimalDissanayake.“AhangYimou:DramasofDesireandthePoweroftheImage.”InKwok-kanTamandWimalDissanayake，eds.，NewChineseCinema，pp.23-34.Oxford:OxfordUniversityPress，1998.

Wang，Yuejin.“MixingMemoryandDesire:RedSorghum，aChineseVersionofMasculinityandFemininity.”InChrisBerry，ed.，PerspectivesonChineseFilm，pp.62-79.London:BritishFilmInstitute，1991.

——.“13.RedSorghum（Honggaoliang，dirZhangYimou，1987）.”InHarryH.Kuoshu，ed.，CelluloidChina:CinematicEncounterswithCultureandSociety，pp.248-276.Carbondale:SouthernIllinoisUniversityPress，2002.

Yang，Mayfair.“OfGender，StateCensorship，andOverseasCapital:AnInterviewwithChineseDirectorZhangYimou.”PublicCulture5（1993）:297-313.

侣行2·中国新格调：爱到极致，行到极端  嫡女心计  遗玉  一个人的好天气  冷山  侣行·中国新格调：爱到极致，行到极端  没有悲伤的城市  九劫神帝  侣行2·中国新格调：爱到极致，行到极端(下)  钓鱼的男孩  再见，萤火虫小巷  不为我们改变的世界  给理想一点时间：精选集  春风十里不如你：与冯唐聊天  深蓝告别  在轮回中找你（一条狗的使命原著）  江城  大揭秘：庞氏骗局的前世今生  刚离婚，我突破金丹期，引来天劫  昙花王朝