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Contributors’ Notes Eileen J. Cheng is assistant professor of Chinese at Pomona College, where she teaches Chinese language, literature, and film. She is currently working on a book manuscript on Lu Xun. Susan Daruvala teaches modern Chinese literature at the University of Cambridge. She is the author of Zhou Zuoren and an Alternative Chinese Response to Modernity (2000). Her current research and teaching interests include the modern Chinese essay and its precursors, the literary scene in Republican China, and film. Cui Shuqin is associate professor of Asian Studies at Bowdoin College. Her teaching and research interests include cinema, gender, and cultural studies as well as modern Chinese literature. She is the author of Women through the Lens: Gender and Nation in a Century of Chinese Cinema. Jin Liu is a Ph.D. candidate in East Asian Literature at Cornell University. She is completing her dissertation on the media productions rendered in local languages in mainland China since 2000. G. Andrew Stuckey is a visiting assistant professor at Kalamazoo College. He specializes in modern Chinese literature with an emphasis on the intersection of history, the past, and narrative as seen through the lens of modern and contemporary Chinese fiction. His current research compares the expression of the past and tradition in Taiwanese fiction to its expression in Mainland fiction. 206 • Contributors MCLC 18.2.indd 206 12/20/06 2:01:42 PM
MCLC 18.2.indd 207 12/20/06 2:01:42 PM
Page 1 and 2: The Rhetoric of Local Languages as
Page 3 and 4: languages provide unexpected, unpre
Page 5 and 6: living in small towns. Integral to
Page 7 and 8: unintelligible even to a Shanxi aud
Page 9 and 10: According to Wang, “the microphon
Page 11 and 12: Figure 5: Xiao Wu (played by Wang H
Page 13 and 14: with the diegetic silence of the pr
Page 15 and 16: Figure 7: The pair Zhang Jun (playe
Page 17 and 18: If linguistic unity can be achieved
Page 19 and 20: that the protagonists’ hybridized
Page 21 and 22: native Taiyuan Mandarin even though
Page 23 and 24: Figure 11: Xiao Ji watches news cov
Page 25 and 26: Figure 13: Qiao Qiao demonstrates t
Page 27 and 28: Figure 14: The closing scene in Pla
Page 29 and 30: Here, subaltern theory may be helpf
Page 31 and 32: to professional formulas. Zhu Wen,
Page 33 and 34: script suggest that the story is se
Page 35 and 36: Wang Guangli’s Heng shu heng (Go
Page 37 and 38: Haixian 海鲜 (Seafood). Dir. Zhu
Page 39 and 40: Dai, Jinhua. 2002. “A Scene in th
Page 41 and 42: Lee, Kevin. 2003. “Jia Zhangke.
Page 43: 指南 (Filmmaking guide for under

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