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Advantageously adverse: Chinese cinemas in transition, 1945-1951.

紀錄類型:	書目-電子資源 : Monograph/item
正題名/作者:	Advantageously adverse: Chinese cinemas in transition, 1945-1951./
作者:	Ma, Lunpeng.
出版者:	Ann Arbor : ProQuest Dissertations & Theses, : 2013,
面頁冊數:	291 p.
附註:	Source: Dissertations Abstracts International, Volume: 75-09, Section: A.
Contained By:	Dissertations Abstracts International75-09A.
標題:	Comparative literature. -
電子資源:	http://pqdd.sinica.edu.tw/twdaoapp/servlet/advanced?query=3609708
ISBN:	9781303688348

Advantageously adverse: Chinese cinemas in transition, 1945-1951.
Ma, Lunpeng.

Advantageously adverse: Chinese cinemas in transition, 1945-1951. - Ann Arbor : ProQuest Dissertations & Theses, 2013 - 291 p.

Source: Dissertations Abstracts International, Volume: 75-09, Section: A.

Thesis (Ph.D.)--State University of New York at Stony Brook, 2013.

This item is not available from ProQuest Dissertations & Theses.

Gone with the Wind (1939), a Hollywood prestige picture, was translated into Chinese as A Beauty at a Turbulent Time in 1946 and became a box-office hit at Shanghai. Its startling success, however, was soon overwhelmed in every aspect by a domestic film, The Spring River Flows East. This second blockbuster indicates the revitalization of Chinese cinemas in terms of aesthetics, genre, and industry in the aftermath of the Japanese occupation. Nevertheless, the translated title A Beauty at a Turbulent Time subliminally manifested the worries and dreams of China in a chaotic period. In this dissertation I examine postwar Chinese films, and situate them within the larger socio-political context of the civil war and Communist takeover, the runaway inflation, and the cultural disintegration. Current scholarship divides Chinese cinemas into mainland China, Hong Kong, and Taiwan. I argue this taxonomy formalizes in the transitional late 1940s when Shanghai, Hong Kong, Manchuria and Taiwan cinema paradoxically enjoyed industrial consolidation and aesthetic sophistication against all odds. Departing from the seminal works on Chinese cinemas in the 1930s and wartime, this project is the first scholarly endeavor on "the postwar golden age" on which no English monograph exists. It takes a locale-specific and regionally-connected approach to map out the individual cinema of Greater China on its own merit and their interconnectedness. I also address its "transnational encounter" with Japanese remnants, Hollywood stardom, and Soviet's formula films. Examining the intersecting discourses of modernity, nationality and industry in four chapters on Shanghai, Hong Kong, Manchuria and Taiwan cinema respectively, this project evokes an archeological and archival approach to cinematic artifacts rather than simply reading movies politically or generically. It expands upon the scholarly attention from the silent era through the 1930s to this unexplored transitional era. Meanwhile, my work shifts academic interest from "Chinese-language cinemas" to locale-specific yet globally-connected traditions. Finally, the project addresses Cold War politics manifested in Chinese cinemas.

ISBN: 9781303688348Subjects--Topical Terms:

570001
Comparative literature.
Subjects--Index Terms:

Advantageously adverse

Advantageously adverse: Chinese cinemas in transition, 1945-1951.
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520 $a Gone with the Wind (1939), a Hollywood prestige picture, was translated into Chinese as A Beauty at a Turbulent Time in 1946 and became a box-office hit at Shanghai. Its startling success, however, was soon overwhelmed in every aspect by a domestic film, The Spring River Flows East. This second blockbuster indicates the revitalization of Chinese cinemas in terms of aesthetics, genre, and industry in the aftermath of the Japanese occupation. Nevertheless, the translated title A Beauty at a Turbulent Time subliminally manifested the worries and dreams of China in a chaotic period. In this dissertation I examine postwar Chinese films, and situate them within the larger socio-political context of the civil war and Communist takeover, the runaway inflation, and the cultural disintegration. Current scholarship divides Chinese cinemas into mainland China, Hong Kong, and Taiwan. I argue this taxonomy formalizes in the transitional late 1940s when Shanghai, Hong Kong, Manchuria and Taiwan cinema paradoxically enjoyed industrial consolidation and aesthetic sophistication against all odds. Departing from the seminal works on Chinese cinemas in the 1930s and wartime, this project is the first scholarly endeavor on "the postwar golden age" on which no English monograph exists. It takes a locale-specific and regionally-connected approach to map out the individual cinema of Greater China on its own merit and their interconnectedness. I also address its "transnational encounter" with Japanese remnants, Hollywood stardom, and Soviet's formula films. Examining the intersecting discourses of modernity, nationality and industry in four chapters on Shanghai, Hong Kong, Manchuria and Taiwan cinema respectively, this project evokes an archeological and archival approach to cinematic artifacts rather than simply reading movies politically or generically. It expands upon the scholarly attention from the silent era through the 1930s to this unexplored transitional era. Meanwhile, my work shifts academic interest from "Chinese-language cinemas" to locale-specific yet globally-connected traditions. Finally, the project addresses Cold War politics manifested in Chinese cinemas.
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