(p.163) Selected Bibliography
(p.163) Selected Bibliography
Berry, Michael. “Evans Chan: The Last of the Chinese.” In Speaking in Images: Interviews with Contemporary Chinese Filmmakers, edited by Michael Berry, 508–542. New York: Columbia University Press, 2005.
Brown, Royal S. Overtones and Undertones: Reading Film Music. Berkeley: University of California Press, 1994.
Burge, David. Twentieth-Century Piano Music. Lanham, Maryland: Scarecrow Press, 2004.
Cage, John. Silence: Lectures and Writings. Middletown, CT: Wesleyan University Press, 1961.
Chan, Evans. “Postmodernism and Hong Kong Cinema.” In Postmodernism and China, edited by Arif Dirlik and Xudong Zhang, 294–324. Durham: Duke University Press, 2000.
———. Transcript of an e-mail interview with Jane Camens, Macao columnist for the Hong Kong newspaper The Standard, 2000.
———. “Against Postmodernism: A Conversation with Susan Sontag.” Postmodern Culture 12.1 (September 2001).
———. Cong xin langchao zhi hou xiandai [From the new wave to the postmodern]. Hong Kong: Hong Kong Film Critics Society, 2001.
———. The Map of Sex and Love: Screenplay and Essays. Hong Kong: Youth Literary Press, 2001.
———. “War and Images 9/11/01, Susan Sontag, Jean Baudrillard and Paul Virilio.” Film International 5 (May 2003), www.filmint.nu.
———. “Zhang Yimou’s ‘Hero’ and the Temptations of Fascism.” Film International 8 (February 2004), www.filmint.nu.
———. “Race, Nation and Ground Zero of Chinese Modernity: Sorrows of the Forbidden City—60 Years Later—A Reconsideration.” In Zhu Shilin: A Filmmaker of His Times, edited by Wong Ainling, 166–185. Hong Kong: Hong Kong Film Archive, 2008.
———. “Chiang Ching: A Life of Film and Dance.” Hong Kong Film Archive Newsletter 54 (November 2010): 10–14.
Cheung, Esther M. K. “The Hi/stories of Hong Kong.” Cultural Studies 15.2–4 (2001): 564–590.
Cheung, William. “Datong: The Great Society: A Film by Evans Chan. An Interview with the Director.” China Heritage Quarterly 27 (September 2011), http://www.chinaheritagequarterly.org/articles.php?searchterm=027_… (accessed October 1, 2011).
Erens, Patrcia Brett. “The Aesthetics of Protest: Evans Chan’s To Liv(e).” In Evans Chan’s To Liv(e), edited by Wong Tak-wai, 109–116. Hong Kong: Department of Comparative Literature, The University of Hong Kong, 1996.
Gann, Kyle. No Such Thing as Silence: John Cage’s 4’33”. Connecticut: Yale University Press, 2010.
(p.164) Gorbman, Claudia. “Film Music.” In The Oxford Guide to Film Studies, edited by J. Hill and P. Church Gibson, 43–50. New York: Oxford University Press, 1998.
Heung, Marina. “Small Triumphs: The New Asian Woman in American Cinema.” Cinemaya 35 (1997): 29–33.
Ingham, Michael, and Gina Marchetti. “Evans Chan: Film Essayist.” In Encyclopedia of the Documentary Film, 199–201. New York: Routledge, 2006.
Joyce, James. Finnegan’s Wake. London: Faber and Faber, 1939.
Lukács, Georg. Soul and Form, translated by Anna Bostock. London: Merlin Press, 1974.
Mann, Thomas. Der Tod in Venedig [Death in Venice]. Munich: Fischer Verlag, 1912.
Marchetti, Gina. “Transnational Cinema, Hybrid Identities, and the Films of Evans Chan.” Postmodern Culture 8.2 (1998).
———. “Transnational Exchanges, Questions of Culture, and Global Cinema: Defining the Dynamics of Changing Relationships.” In At Full Speed: Hong Kong Cinema in a Borderless World, edited by Esther C. M. Yau, 251–260. Minneapolis: University of Minnesota Press, 2001.
———. “Transnational Cinema and Hybrid Identities: To Liv(e) and Crossings/Interview: Evans Chan.” In From Tian’anmen to Times Square: Transnational China and the Chinese Diaspora on Global Screens 1989–1997, edited by Gina Marchetti, 157–188. Philadelphia: Temple University Press, 2006.
Mitchell, Stephen. Tao Te Ching: A New English Version. New York: Harper & Row, 1988.
Rilke, Rainer Maria. Selected Poems, translated by J. B. Leishman. Harmondsworth: Penguin, 1964.
Rodriguez, Hector. “The Emergence of the Hong Kong New Wave.” In At Full Speed: Hong Kong Cinema in a Borderless World, edited by Esther C. M. Yau, 53–69. Minneapolis: University of Minnesota Press, 2001.
———. “The Fragmented Commonplace: Alternative Arts and Cosmopolitanism in Hong Kong.” In Multiple Modernities: Cinemas and Popular Media in Transcultural Asia, edited by Jenny Kwok Wah Lau, 128–148. Philadelphia: Temple University Press, 2003.
Rosenbaum, Jonathan. Placing Movies: The Practice of Film Criticism. Berkeley: University of California Press, 1995.
Salzman, Eric. Twentieth-Century Music: An Introduction. Englewood Cliffs, NJ: Prentice Hall, 1974.
Sontag, Susan. Against Interpretation and Other Essays. New York: Dell, 1969.
Thieme, Claudia. F for Fake and the Growth of Complexity in Orson Welles’s Documentary Form. New York: Peter Lang, 1997.
Tony, Judt. Reappraisals. New York: Penguin Books, 2009.
Walsh, Martin. The Brechtian Aspect of Radical Cinema. London: British Film Institute, 1981.
Williams, Tony. “Hong Kong Cinema, the Boat People, and To Liv(e).” Asian Cinema 11.1 (2000): 180–196.
———. “Two or Three Things about Mao, Godard and Kang Youwei.” Asian Cinema 24.1 (2013): 87–104.
Wong, Tak-wai, ed. Evans Chan’s To Liv(e): Screenplay and Essays. Hong Kong: Department of Comparative Literature, The University of Hong Kong, 1996.