Abstract

Sinification, in the sense of rendering Chinese, or indigenizing a foreign medium, has been a dominant discourse in Chinese film historiography. This article analyzes film music in Chinese cinema of the 1930s and argues that sinification should not be taken as a natural or inevitable process but instead should be viewed as a conditional, negotiated practice, subject to intertwined industrial and political mediations.

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Additional Information

ISSN
1527-2087
Print ISSN
0009-7101
Pages
pp. 78-97
Launched on MUSE
2002-05-01
Open Access
No
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