This volume aims both to establish cinema as a vital force in Shanghai culture and to direct attention to early Chinese cinema, a crucial chapter in Chinese cultural history long neglected by Western scholars.The editor’s introduction surveys the history and historiography of Chinese cinema through the 1940’s and identifies subjects and sources that await further research.This volume aims both to establish cinema as a vital force in Shanghai culture and to direct attention to early Chinese cinema, a crucial chapter in Chinese cultural history long neglected by Western scholars.The editor’s introduction surveys the history and historiography of Chinese cinema through the 1940’s and identifies subjects and sources that await further research. In Part I, “Screening Romance,” Zhen Zhang discusses how the influence of teahouse culture gradually yielded to cinematic and narrative concerns in the early 1920’s. Kristine Harris’s analysis of a costume drama reveals the director’s cultural heritage and a rich psychological subtext created by new film techniques. Leo Ou-fan Lee examines the ways various urban institutions were utilized to promote a certain type of film culture in Shanghai.In Part II, “Imaging Sexuality,” Andrew Field traces the public perception of cabaret girls in Shanghai, and Michael Chang studies the discursive processes by which three generations of early movie stars were elevated to stardom. Yingjin Zhang contends that prostitution was a focal point in the urban imagination and that its public presentation furnished Chinese filmmakers with a highly contested space for projecting different ideologies.In Part III, “Constructing Identity,” Zhiwei Xiao examines the role Nationalist film censorship played in promoting a new national culture, and Sue Tuohy locates in film music a wide range of conflicting ideals and models. Shelley Stephenson brings us to Japanese-occupied Shanghai, where a Manchurian-born, Chinese-educated Japanese film star masked her true identity.Representing the disciplines of film, literature, and ethnomusicology, the contributors seek to redefine concepts of cinema and urban culture in Chinese historiography. The volume will appeal to scholars whose interests lie, not just in film studies and Chinese history, but in the fields of modernity, urban studies, and popular culture....
|Title||:||Cinema and Urban Culture in Shanghai, 1922-1943|
|Number of Pages||:||392 Pages|
|Status||:||Available For Download|
|Last checked||:||21 Minutes ago!|
Cinema and Urban Culture in Shanghai, 1922-1943 Reviews
Wow, this book is indispensable for anyone interested in pre-Communist Chinese cinema. The quotient of reading enjoyment to amount of information is as high as can be. This is an anthology of 10 essays by different scholars on different aspects of moviegoing, urban space, and the political environment. There are chapters devoted to early female stars and propriety, how movies were viewed and criticized, the courtesan/prostitute/singer/actress continuum, political theory behind film scores, censorship during the Nanjing decade and how it related to films made in local dialects. The chapters are arranged chronologically but tend to overlap. Stars Ruan Ling Yu and Lili Li are mentioned frequently. The last chapter is devoted to an actress who starred in Japanese sponsored Mandarin language films, was promoted as Chinese, was Japanese in origin, but born and educated in Manchuria. This is a fitting final chapter because it encompasses all of the politics, technique, and mystery of cinema.