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<h3 style="margin-top:0;"><a style="font-weight: 500; font-size: 21px;line-height: 30px; margin-top:25px; margin-bottom: 10px;" href="http://u.osu.edu/mclc/2014/09/03/revolutionary-cycles-in-chinese-cinema/" target="_blank">Revolutionary Cycles in Chinese Cinema</a></h3>
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<p>From: Zhuoyi Wang (zwang@hamilton.edu)<br />
**************************************************************</p>
<p><a href="http://u.osu.edu/mclc/files/2014/09/9781137378736-223i9pj.jpg"><img class=" wp-image-2635 alignleft" alt="book-reviews-revolutionary-cycles" src="https://u.osu.edu/mclc/files/2014/09/9781137378736-223i9pj-194x300.jpg" width="116" height="180" /></a>Dear Colleagues, It is my pleasure to announce the publication of my book,<a href="http://www.palgrave.com/page/detail/revolutionary-cycles-in-chinese-cinema-19511979-zhuoyi-wang/?K=9781137378736"><i> Revolutionary Cycles in Chinese Cinema, 1951-1979</i>. <i>Revolutionary Cycles in Chinese Cinema, 1951-1979</i></a> by Zhuoyi Wang. New York: Palgrave Macmillan, July 17, 2014. (292 pages) ISBN-10: 1137378735 ISBN-13: 978-1137378736</p>
<p>Abstract: A comprehensive history of how the conflicts and balances of power in the Maoist revolutionary campaigns from 1951 to 1979 complicated and diversified the meanings of films, this book offers a discursive study of the development of early PRC cinema. Wang closely investigates how film artists, Communist Party authorities, cultural bureaucrats, critics, and audiences negotiated, competed, and struggled with each other for the power to decide how to use films and how their extensively different, agonistic, and antagonistic power strategies created an ever-changing discursive network of meaning in cinema.</p>
<p><span style="font-size: 14px; line-height: 1.5em;">Best regards, Zhuoyi Wang</span></p>
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by <a href="mailto:denton.2@osu.edu">denton.2@osu.edu</a> on September 3, 2014 </div>
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