Contents -- Acknowledgments -- Introduction -- Part One: Early Production -- 1. From Shadow-Play to a National Cinema -- 2. Reconstructing History: The (Im)possible Engagement between Feminism and Postmodernism in Stanley Kwan's Center Stage -- Part Two: Socialist Cinema -- 3. Constructing and Consuming the Revolutionary Narratives -- 4. Gender Politics and Socialist Discourse in Xie Jin's The Red Detachment of Women -- Part Three: The New Wave -- 5. Screening China: National Allegories and International Receptions -- 6. The Search for Male Masculinity and Sexuality in ZhangYimou's Ju Dou -- 7. Subjected Body and Gendered Identity: Female Impersonation in Chen Kaige's Farewell My Concubine -- Part Four: Women's Films -- 8. Feminism with Chinese Characteristics? -- 9. Desire in Difference: Female Voice and Point of View in Hu Mei's Army Nurse -- 10. Transgender Masquerading in Huang Shuqin's Human, Woman, Demon -- Postscript -- Filmography -- Notes -- Works Cited -- Index.