[1] Special thanks to Yeh Yueh-Yu for her help in the preparation of this review.

[2] Dai Jinhua, “Rewriting Chinese Women: Gender Production and Cultural Space in the Eighties and Nineties,” trans. Yu Ning with Mayfair Yang, Spaces of Their Own: Women’s Public Sphere in Transnational China, ed. Mayfair Mei-Hui Yang (Minneapolis: University of Minnesota, 1999), pp. 198-199.

[3] Dai Qing, “Raised Eyebrows for Raise the Red Lantern,” trans. Jeanne Tai, Pubic Culture, Vol. 5, No. 2 (Winter 1993), p. 336 (333-337). Jane Ying Zha ruminates on this as well in the same issue of Public Culture in her essay, “Excerpts form ‘Lore Segal, Red Lantern, and Exoticism,’” Public Culture, Vol. 5, No. 2 (Winter 1993), pp. 329-332. Under the name Jianying Zha, she continues her critique in her book China Pop: How Soap Operas, Tabloids, and Bestsellers Are transforming a Culture (NY: The New Press, 1995).

[4] Rey Chow, Primitive Passions: Visuality, Sexuality, Ethnography, and Contemporary Chinese Cinema (NY: Columbia University Press, 1995), pp. 171-2.

[5] Mayfair Mei-Hui Yang, ed. Spaces of Their Own: Women’s Public Sphere in Transnational China, (Minneapolis: University of Minnesota, 1999).

[6] Jenny Kwok Wah Lau, ed. Multiple Modernities: Cinemas and Popular Media in Transcultural Asia (Philadelphia: Temple University Press, 2003).

[7] Jing Wang, High Culture Fever: Politics, Aesthetics, and Ideology in Deng’s China (Berkeley: University of California Press, 1996).

[8] Tani E. Barlow, ed. Gender Politics in Modern China (Durham: Duke University Press, 1993). Barlow was among the first American educators allowed into the People’s Republic after the Cultural Revolution, and she writes about her experiences in Tani E. Barlow and Donald M. Lowe, Teaching China’s Lost Generation: Foreign Experts in the People’s Republic of China (San Francisco: China Books, 1987). Portions of this book were excerpted in Jump Cut #34 (March 1989).

[9] Ni Zhen, Memoirs from the Beijing Film Academy: The Genesis of China’s Fifth Generation, trans. Chris Berry (Durham, NC: Duke University Press, 2002).

[10] To get some sense of how film theory is understood in the People’s Republic, see George S. Semsel, Xia Hong, Hou Jianping, eds., Chinese Film Theory: A Guide to the New Era (Greenwood Publishing Group, 1990). Many of the essayists featured in this volume have been involved with the Beijing Film Academy in some capacity.

[11] The Chinese title, Ren Gui Qing, is usually translated as Woman, Demon, Human. Literally, it is closer to “human-ghost feelings” or “human-ghost intimacies.” I don’t know why the title more commonly used in English language versions of the film is not used here. Other common titles for films like Wang Xiaoshuai’s The Days (1993) and Xie Jin’s The Last Aristocrats (1989) are also rendered differently in this book.

[12] For more on Chinese soap operas, see Sheldon Lu, “Soap Opera in China: The Transnational Politics of Visuality, Sexuality, and Masculinity,” Cinema Journal 40:1 (Fall 2000), pp. 25-47.

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