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"An amorous history of the silver sc...

Zhang, Zhen.

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"An amorous history of the silver screen": Film culture, urban modernity, and the vernacular experience in China, 1896-1937.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	"An amorous history of the silver screen": Film culture, urban modernity, and the vernacular experience in China, 1896-1937./
作者:	Zhang, Zhen.
面頁冊數:	462 p.
附註:	Source: Dissertation Abstracts International, Volume: 59-11, Section: A, page: 3994.
Contained By:	Dissertation Abstracts International59-11A.
標題:	Film studies. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=9910946
ISBN:	9780599093034

"An amorous history of the silver screen": Film culture, urban modernity, and the vernacular experience in China, 1896-1937.
Zhang, Zhen.

"An amorous history of the silver screen": Film culture, urban modernity, and the vernacular experience in China, 1896-1937. - 462 p.

Source: Dissertation Abstracts International, Volume: 59-11, Section: A, page: 3994.

Thesis (Ph.D.)--The University of Chicago, 1998.

This item is not available from ProQuest Dissertations & Theses.

My dissertation is a cultural history and reconceptualization of the experience of Chinese modernity through the lens of the film culture of the pre-war period. The production of Chinese silent and early sound film and its reception registered profound changes in everyday life, in the way the world was perceived, and in knowledge production and dissemination in early 20th-century China. I delineate the constitution and transformation of a film culture, including aspects of production, exhibition and other related cultural practices, centered in the emerging cosmopolitan setting of Shanghai. I examine, on a general and theoretical level, the complex ties between the early cinema and the vernacular movement, as well as the interaction between verbal and visual culture within the broader scenario of democratization of writing and iconography. I discuss how new gender relations and perceptions of the body are configured, both on and off the screen, in a modernizing urban space under the impact of mass media and commodity culture.

ISBN: 9780599093034Subjects--Topical Terms:

2122736
Film studies.

"An amorous history of the silver screen": Film culture, urban modernity, and the vernacular experience in China, 1896-1937.
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245 1 4 $a "An amorous history of the silver screen": Film culture, urban modernity, and the vernacular experience in China, 1896-1937.
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500 $a Source: Dissertation Abstracts International, Volume: 59-11, Section: A, page: 3994.
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502 $a Thesis (Ph.D.)--The University of Chicago, 1998.
506 $a This item is not available from ProQuest Dissertations & Theses.
520 $a My dissertation is a cultural history and reconceptualization of the experience of Chinese modernity through the lens of the film culture of the pre-war period. The production of Chinese silent and early sound film and its reception registered profound changes in everyday life, in the way the world was perceived, and in knowledge production and dissemination in early 20th-century China. I delineate the constitution and transformation of a film culture, including aspects of production, exhibition and other related cultural practices, centered in the emerging cosmopolitan setting of Shanghai. I examine, on a general and theoretical level, the complex ties between the early cinema and the vernacular movement, as well as the interaction between verbal and visual culture within the broader scenario of democratization of writing and iconography. I discuss how new gender relations and perceptions of the body are configured, both on and off the screen, in a modernizing urban space under the impact of mass media and commodity culture.
520 $a Engaging previously unstudied material, I focus on a number of significant topoi in the landscape of film and vernacular culture and their articulations in selected films. I consider the interrelation between the expansion of a "film world" and the transition to a narratively integrated cinema, the rise of the script as a new form of writing informed by new technology, the boom of and the subsequent suppression through censorship of the "martial arts-magic spirit" film, as well as the advent of sound and its implications for an "aesthetic of emergency" in the midst of a national crisis. Bracketing the importance of language and the printed and spoken word as discussed in previous scholarship on the relationship between the vernacular movement and cultural modernity, I argue that early Chinese cinema constitutes a mass-mediated phenomenological experience and an inclusive vernacular modernity. As a historical as well as aesthetic formation, the multifaceted film culture contributed in important ways to the production of a socio-physiological sensorium that is at once culturally specific and globally oriented. The experience of Chinese modernity cannot be adequately understood outside this vernacular film culture.
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