Global perceptions of China have changed dramatically since the massive student protests that took place in Tian'anmen Square in April 1989. The media spotlight trained on Beijing, and the international uproar over the events of that spring still shape the world's perceptions of the People's Republic and the ways that Chinese people, within and beyond China, see and portray themselves.

In From Tian'anmen to Times Square, leading film scholar Gina Marchetti considers the complex changes in the ways that China and the Chinese have been portrayed in cinema and media arts since the Tian'anmen revolt. Drawing on her interviews with leading contemporary Chinese filmmakers, Marchetti looks at a wide range of work by Chinese and non-Chinese media artists working in China, Hong Kong, Taiwan, and Singapore and on transnational co-productions involving those places. Focusing on the intersections of race, ethnicity, gender, and sexuality on global screens, Marchetti traces the momentous political, cultural, social, and economic forces confronting contemporary media artists and filmmakers working within "Greater China."

An exploration of women’s public expression--in China and beyond.

How are the public and political lives of Chinese women constrained by states and economies? And how have pockets of women’s consciousness come to be produced in and disseminated from this traditionally masculine milieu? The essays in this volume examine the possibilities for a public sphere for Chinese women, one that would emerge from concrete historical situations and local contexts and also cut across the political boundaries separating the Mainland, Taiwan, Hong Kong, and the West.

The challenges of this project are taken up in essays on the legacy of state feminism on the Mainland as contrasted with a grassroots women’s movement in Taiwan; on the role of the capitalist consumer economy in the emerging lesbian movement in Taiwan; and on the increased trafficking of women as brides, prostitutes, and mistresses between the Mainland and wealthy male patrons in Taiwan and Hong Kong. The writers’ examples of masculine domination in the media include the reformulation of Chinese women in Fifth Generation films for a transnational Western male film audience and the portrayal of Mainland women in Taiwanese and Hong Kong media. The contributors also consider male nationalism as it is revealed through both international sports coverage on television and in a Chinese television drama. Other works examine a women’s museum, a telephone hotline in Beijing, the films of Hong Kong filmmaker Ann Hui, the transnational contacts of a Taiwanese feminist organization, the diaspora of Mainland women writers, and the differences between Chinese and Western feminist themes.Contributors: Susan Brownell, U of Missouri; Virginia Cornue; Dai Jinhua, Beijing U; Kathleen Erwin; Elaine Yee Lin Ho, Hong Kong U; Lee Yuan-chen, Tamkang U; Li Xiaojiang, Zhengzhou U and Henan U; Lisa Rofel, U of California, Santa Cruz; Tze-lan Deborah Sang, U of Oregon; Shu-mei Shih, UCLA; Zhang Zhen. ISBN 0-8166-3145-X Cloth $49.95xxISBN 0-8166-3146-8 Paper $19.95x336 pages 9 black-and-white photos 5 7/8 x 9 FebruaryPublic Worlds Series, volume 4Translation inquiries: University of Minnesota Press