Trim: 6 x 9⅛
978-0-7391-9043-2 • Hardback • September 2014 • $135.00 • (£104.00)
978-1-4985-0143-9 • Paperback • December 2015 • $59.99 • (£46.00)
978-0-7391-9044-9 • eBook • September 2014 • $54.00 • (£42.00)
James A. Cook is associate director of the Asian Studies Center at the University of Pittsburgh.
Joshua Goldstein is associate professor of history at University of Southern California.
Matthew D. Johnson is assistant professor of East Asian history at Grinnell College.
Sigrid Schmalzer is associate professor of history at UMass Amherst.
Chapter 1: Introduction
James Cook, Joshua Goldstein, Matthew Johnson, Sigrid Schmalzer
Chapter 2: Envisioning the Spectacles of Emperor Qianlong’s Tours of Southern China
Michael G. Chang
Chapter 3: In the Eyes of the Beholder: Rebellion as Visual Experience
Chapter 4: Yangliuqing New Year’s Pictures: The Fortune of a Folk Tradition
Madeleine Yue Dong
Chapter 5: Monumentality in Nationalist Nanjing: Purple Mountain’s Changing Views
Charles D. Musgrove
Chapter 6: “The Me in the Mirror”: Voyeurism and Discipline in Women’s Physical Culture, 1921-1937
Andrew D. Morris
Chapter 7: Rethinking ”China”: Overseas Chinese and China’s Modernity
Jame A. Cook
Chapter 8: The Myth about Chinese Leftist Cinema
Chapter 9: Imagining the Refugee: The Emergence of a State Welfare System in the War of Resistance
Chapter 10: Revolutionary Real Estate: Envisioning Space in Communist Dalian
Chapter 11: Spatial Profiling: Seeing Rural and Urban in Mao’s China
Chapter 12: Cinema and Propaganda during the Great Leap Forward
Chapter 13: Images, Memories and Lives, of Sent-down Youth in Yunnan
Chapter 14: Wild Pandas, Wild People: Two Views of Wilderness in Deng-Era China
Elena Songster, Sigrid Schmalzer
Chapter 15: Contextualizing the Visual (and Virtual) Realities of Expo 2010
This exceptional book provides a fresh history of modern China, showing how it was shaped by visual experiences. Leading scholars trace the strong connection between image-making and state power from the eighteenth to the twenty-first centuries. The essays examine not only artifacts, from folk art to propagandistic cinema, but also how the gaze has been manipulated to create new perceptions of the nation. The book should be read by all who are interested in the relation between vision and power.
— Yomi Braester, University of Washington