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Red Aesthetics, Intermediality and the Use of Posters in Chinese Cinema after 1949
16 references·0 citing·29 second hop
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References

  • 1985Reactionary Modernism: Technology, Culture, and Politics in Weimar and the Third Reich493 cited
  • 1993The Total Art of Stalinism: Avant-Garde, Aesthetic Dictatorship, and beyond308 cited
  • 2007Modernism, media, and propaganda: British narrative from 1900 to 1945284 cited
  • 1998Iconography of power: Soviet political posters under Lenin and Stalin274 cited
  • 1997History in Three Keys: The Boxers as Event, Experience, and Myth211 cited
  • 1997History in Three Keys: The Boxers as Event, Experience, and Myth204 cited
  • 1976Narrative Space177 cited
  • 1992The Total Art of Stalinism: Avant-Garde, Aesthetic Dictatorship, and Beyond159 cited
  • 2008Complications: communism and the dilemmas of democracy85 cited
  • 2012Opening Bazin: Postwar Film Theory and Its Afterlife82 cited
  • 2001Public secrets, public spaces: cinema and civility in China82 cited
  • 2010Maoist Model Theatre44 cited
  • 2005Selling happiness: calendar posters and visual culture in early-twentieth-century Shanghai39 cited
  • 2002Yishu : Journal of Contemporary Chinese art38 cited
  • 1998A Century in Crisis: Modernity and Tradition in the Art of Twentieth-Century China38 cited

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  • 2010Cultural Revolution Model Opera Films and the Realist Tradition in Chinese Cinema34 cited
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