4.程季华等：《中国电影发展史》。
5. 本杰明（Walter Benjamin），是中国共产党左翼地下电影工作者的同时代人，思考了电影作为一个新的大众艺术的革命功效。见他1935年写的、广为征引的文章, "The Work of Art in the Age of Mechanical Reproduction," 载 Film and Criticism, ed. Gerald Mast and Marshall Cohen (New York: Oxford University Press, 1992),665-681.
6.见Susan Hayward, French National Cinema (London: Routledge, 1993),14. 相似的关于其他民族电影和地区电影的最新研究，见 Andrew Higson, Waving the Flag: Constructing a National Cinema in Britain (Oxford: Clarendon Press, 1995);Sumita Chakravarty, National Identity in Indian Popular Cinema (Austin: University of Texas Press, 1993); Manthia Diawara, African Cinema(Bloomington: Indiana University Press, 1992); Nwachukwu Frank Ukadike, Black African Cinema(Berkeley: University of California Press, 1994);Pierre Sorlin, Italian National Cinema (London: Routledge, 1996)；Pierre Sorlin, European Cinemas, European Societies, 1939-1990 (London: Routledge, 1991);Tom O’Regan, Australian National Cinema (London: Routledge, 1996);Ella Shohat and Robert Stam, Unthinking Eurocentrism: Multiculturalism and the Media (London: Routledge, 1994).
7.对于这个问题的深入的、有益的历史性研究，即好莱坞在涉及种族和性别时如何表现亚洲人的策略，见 Gina Marchetti, Romance and the "Yellow Peril": Race, Sex and Discursive Strategies in Hollywood Fiction (Berkeley: University of California Press, 1993).
8. Andrew Higson, "The Concept of National Cinema," Screen 30, no. 4(1989): 37.
9.见Paul Clark, Chinese Cinema: Culture and Politics Since 1949 (New York: Cambridge University Press, 1987).
10. Wimal Dissanayake建议，亚洲的民族电影"可以从文本与产业这两个角度来作广泛评价。取文本的角度，我们可以从内容，风格和本土的美学这些方面去审视一个电影的独特性；而取产业的角度，我们只能从生产、销售、放映这些方面去审视电影和产业之间的关系"。见Wimal Dissanayake, ed., Colonialism and Nationalism in Asian Cinema (Bloomington: Indiana University Press, 1994), xiii-xiv.
11. Douglas Wilkerson, "Film and the Visual Arts in China: An Introduction,"载 Cinematic Landscapes: Observations on the Visual Arts and Cinema of China and Japan, ed. Linda Ehrlich and David Desser (Austin: University of Texas Press, 1994),40.
12.对中国电影艺术家做五代的划分，见George S. Semsel, ed., Chinese Film: The State of the Art in the People’s Republic (New York: Praeger, 1987), 11-14.
13.《老井》是由第四代导演吴天明执导的，张艺谋在这部电影中担任主角。吴后来成为西安电影制片厂的厂长，由于他帮助第五代导演在他的制片厂中创业，故被认为是第五代导演之父。
14.见Fredric Jameson, "Third-World Literature in the Era of Multinational Capitalism," Social Text 15(fall 1986): 65-88.
15. Benedict Anderson, Imagined Communities: Reflections on the Origin and Spread of Nationalism (London: Verso, 1991)，6. 正如詹明信对中国新电影风格的评论：摄影中采用"史诗般的中景"、"中全景的视角"（mid-panoramic perspective）和史诗叙述（epic narrativity），与复兴中华民族的话语之间可能存在某种联系。见Fredric Jameson," Remapping Taipei," in New Chinese Cinemas: Forms, Identities, Politics, ed. Nick Browne, Paul G. Pickowicz, Vivian Sobchack, and Esther Yau(Cambridge: Cambridge University Press, 1994),120-121.
16.见Nick Browne的"导言"，载 New Chinese Cinemas, 1-11.
17.见Masao Miyoshi的有启发性的文章"A Borderless World? From Colonialism to Transnationalism and the Decline of the Nation-State," Critical Inquiry 19, no. 4(1993): 726-751。 在"全球资本主义"的有益讨论中涉及到中国方面的论述,见Arif Dirlik, After the Revolution: Waking to Global Capitalism (Hanover, N. H.： Wesleyan University Press, 1994), 以及 Arif Dirlik, "The Postcolonial Aura; Third-World Criticism in the Age of Global Capitalism," Critical Inquiry 20, no. 2 (1994)： 328-356.
18.见William Brent, "Lights! Cameras! Action!" The China Business Review (September-October 1994): 36-39.
19.见林利生（音）：《90年代中国电影的经济变更和艺术分野》，《电影艺术》1996年第3期，37-41、83页。
20. Cui Lili， "Facing the Challenge From Hollywood," Beijing Review（《北京周报》）(February 5-11, 1996)：13.
21. Rex Weiner, "China Opens Its Doors to Sundance Fest," Variety, October 9-15, 1995, 13, 16; Rex Weiner, "Sundance Festival Takes Show on the Silk Road: Chinese Independents," Variety, October 16-22,1995,24.
22.对于20世纪末中国的后现代文化特征的探讨,见拙著 "Postmodernity, Popular Culture, and the Intellectual: A Report on Post-Tiananmen China," boundary 2 23, no. 2(1996):139-169; "Art, Culture, and Cultural Criticism in Post-New China," New Literary History 28, no. 1 (1997): 111-133; "Global POSTmodernIZATION: The Intellectual, the Artist, and China’s Condition," boundary 2 24, no. 3 (1997).
