In this Book

summary
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.

Table of Contents

  1. Cover
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  1. Title Page, Copyright
  2. pp. i-iv
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  1. Acknowledgments
  2. pp. v-vi
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  1. Contents
  2. pp. vii-viii
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  1. A Note on Transliteration and Translation
  2. pp. ix-x
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  1. Introduction
  2. Emilie Yueh-yu Yeh
  3. pp. 1-16
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  1. Part I. Revising Historiography: Early Film Culture in Hong Kong, Taiwan, and Guangzhou
  1. 1. Translating Yingxi: Chinese Film Genealogy and Early Cinema in Hong Kong
  2. Emilie Yueh-yu Yeh
  3. pp. 19-50
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  1. 2. Magic Lantern Shows and Screen Modernity in Colonial Taiwan
  2. Laura Jo-Han Wen
  3. pp. 51-70
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  1. 3. From an Imported Novelty to an Indigenized Practice: Hong Kong Cinema in the 1920s
  2. Ting-yan Cheung and Pablo Sze-pang Tsoi
  3. pp. 71-100
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  1. 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
  2. Daw-Ming Lee
  3. pp. 101-133
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  1. 5. “Guangzhou Film” and Guangzhou Urban Culture: An Overview
  2. Hui Liu, Shi-Yan Chao, and Richard Xiaying Xu
  3. pp. 134-155
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  1. 6. The Way of The Platinum Dragon: Xue Juexian and the Sound of Politics in 1930s Cantonese Cinema
  2. Kenny K. K. Ng
  3. pp. 156-176
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  1. Part II. Intermediaries, Cinephiles, and Film Literati
  1. 7. Toward the Opposite Side of “Vulgarity”: The Birth of Cinema as a “Healthful Entertainment” and the Shanghai YMCA
  2. Yoshino Sugawara
  3. pp. 179-201
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  1. 8. Movie Matchmakers: The Intermediaries between Hollywood and China in the Early Twentieth Century
  2. Yongchun Fu
  3. pp. 202-222
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  1. 9. The Silver Star Group: A First Attempt at Theorizing Wenyi in the 1920s
  2. Enoch Yee-lok Tam
  3. pp. 223-243
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  1. 10. Forming the Movie Field: Film Literati in Republican China
  2. Emilie Yueh-yu Yeh and Enoch Yee-lok Tam
  3. pp. 244-276
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  1. 11. Rhythmic Movement, Metaphoric Sound, and Transcultural Transmediality: Liu Na’ou and The Man Who Has a Camera (1933)
  2. Ling Zhang
  3. pp. 277-302
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  1. Chinese and Japanese Glossary
  2. pp. 303-308
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  1. Contributors
  2. pp. 309-312
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  1. Bibliography
  2. pp. 313-344
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  1. Index
  2. pp. 345-354
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Additional Information

ISBN
9780472123445
Related ISBN
9780472073726
MARC Record
OCLC
1023628201
Pages
364
Launched on MUSE
2018-03-04
Language
English
Open Access
Yes
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