ISBN:
0472123440
,
0472901028
,
0472073729
,
0472053728
,
9780472901029
,
9780472073726
,
9780472053728
,
9780472073726
,
9780472123445
Language:
English
Pages:
1 Online-Ressource (1 online resource)
Parallel Title:
Erscheint auch als
Keywords:
Motion pictures History
;
Motion pictures History
;
Motion pictures History
;
Motion picture industry History
;
Motion picture industry History
;
Motion picture industry History
;
PERFORMING ARTS ; Reference
;
ART ; General
;
Motion picture industry
;
Motion pictures
;
China
;
China ; Hong Kong
;
Taiwan
;
History
;
Electronic books
Abstract:
Introduction -- Part I. Revising historiography : early film culture in Hong Kong, Taiwan, and Guangzhou -- 1. Translating Yingxi : Chinese film genealogy and early cinema in Hong Kong -- 2. Magic lantern shows and screen modernity in colonial Taiwan -- 3. From an imported novelty to an indigenized practices : Hong Kong cinema in the 1920s -- 4. Enlightenment, propaganda, and image creation : a descriptive analysis of the usage of film by the Taiwan education society and the colonial government before 1937 -- 5. 'Guangzhou Film' and Guangzhou urban culture -- 6. The way of the Platinum Dragon : Xue Juexian and the sound of politics in 1930s Cantonese cinema-- Part II. Intermediaries, cinephiles, and film literati -- 7. Toward the opposite side of 'vulgarity' the birth of cinema as a 'healthful entertainment' and the Shanghai YMCA -- 8. Movie matchmakers : the intermediatries between Hollywood and China in the early twentieth century -- 9. The silver star group : a first attempt at theorizing wenyi in the 1920s -- 10. Forming the movie field : film literati in Republican China -- 11. Rhythmic movement, metaphoric sound, and transcultural transmediality : Liu Na'ou and The man who has a camera (1933) -- Chinese and Japanese glossary.
Abstract:
This volume features new work on cinema in early twentieth-century Hong Kong, Taiwan, and Republican China. Looking beyond relatively well-studied cities like Shanghai, these essays foreground cinema's relationship with imperialism and colonialism and emphasize the rapid development of cinema as a sociocultural institution. These essays examine where films were screened; how cinema-going as a social activity adapted from and integrated with existing social norms and practices; the extent to which Cantonese opera and other regional performance traditions were models for the development of cinematic conventions; the role foreign films played in the development of cinema as an industry in the Republican era; and much more
Note:
Includes bibliographical references and index
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