附註:Includes bibliographical references (pages 313-343) and index.
Translating Yingxi: Chinese film genealogy and early cinema in Hong Kong / Emilie Yueh-yu Yeh -- Magic lantern shows and screen modernity in Colonial Taiwan / Laura Jo-Han Wen -- From an imported novelty to an indigenized practice: Hong Kong cinema in the 1920s / Ting-yan Cheung and Pablo Sze-pang Tsoi -- Enlightenment, propaganda, and image creation: a descriptive analysis of the usage of film by the Taiwan Education Society and the colonial government before 1937 / Daw-Ming Lee -- "Guangzhou film" and Guangzhou urban culture: an overview / Hui Liu, Shi-Yan Chao, and Richard Xiaying Xu -- The way of the platinum dragon: Xue Juexian and the sound of politics in 1930s Cantonese cinema / Kenny K. K. Ng -- Toward the opposite side of "vulgarity": the birth of cinema as a "healthful entertainment" and the Shanghai YMCA / Yoshino Sugawara -- Movie matchmakers: the intermediaries between Hollywood and China in the early twentieth century / Yongchun Fu -- The silver star group: a first attempt at theorizing Wenyi in the 1920s / Enoch Yee-lok Tam -- Forming the movie field: film literati in Republican China / Emilie Yueh-yu Yeh and Enoch Yee-lok Tam -- Rhythmic movement, metaphoric sound, and transcultural transmediality: Liu Na'ou and The man who has a camera (1933) / Ling Zhang.
摘要:"Shanghai is central in the development of China's modernity before 1949, including not just cinema, but other cultural formations. To quote Wen-hsin Yeh in her pioneering article: "Shanghai in the first half of the 20th century emerged to become China's largest metropolis for trade, finance, manufacturing, publishing, higher education, journalism and many other important functions, performed by a growing population increasingly diversified into multiple classes of different incomes and interests."2 Major publications by Leo Ou-fan Lee (1999), Zhang Yingjin (ed., 1999), Andrew Jones (2001), Barbara Mittler (2004), Zhang Zhen (2005), Nicole Huang (2005), Wen-hsin Yeh (2008),3 and many others fasten on Shanghai as the wellspring of modern China in consumer and media culture.4 Through the concerted efforts of two generations of scholars, Shanghai was decisively crowned as the jewel of Chinese modernity and cosmopolitanism; film and media culture associated with the city--celebrities, advertising, magazines, popular fiction, theaters, and the urban space--also emerged to typify Chinese cinema in general. Hence the currency of "Shanghai cinema"--
