지원사업
학술연구/단체지원/교육 등 연구자 활동을 지속하도록 DBpia가 지원하고 있어요.
커뮤니티
연구자들이 자신의 연구와 전문성을 널리 알리고, 새로운 협력의 기회를 만들 수 있는 네트워킹 공간이에요.
초록· 키워드
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Shanghai was at the center of the early stages of development of Chinese film industry. Following the Opium War of 1840 and the Treaty of Nanjing in 1842, Shanghai opened its port and emerged as the economic cultural capital of China. Shanghai was prepared to produce, distribute, and screen films. The city also had large enough population consume the new form of media called film.
Previous studies of Shanghai films focused on backgrounds of development and the division into two groups: leftist films of socialistic realism and popular films influenced by the West, namely the United States.
This study diverges from the mainstream of analysis on the Shanghai films of the 1930s and 1940s. It contemplates aspects of negotiations that occurred among the leftist and popular films. In order to overcome binarity, the of Peter V. Zima was borrowed to prospect collision and negotiation among the two groups.
The leftist films employed different bargaining mechanisms concerning the aesthetics of popular films influenced by the West. First, they reflected Chinese ideologies to adhere to, such as humanitarianism and paternalism, in soap opera that were familiar to the public. They also employed audio techniques that drew political agenda―patriotism and establishment of national identity―into individual subjectivity of their audience.
The effective association between mainstream aesthetics and ideologies found in Shanghai films of the 1930s and 1940s had substantial influence on Sinophone films in later years. Furthermore, Shanghai films demonstrated significant impact on films made in the first half of the 20th century. They are also in the middle of the emergence of Asian films at the present time. study of Shanghai films is equivalent to investigation of Sinophone films of the 21st century.
Moreover, there is a common feature between Shanghai and film: Shanghai is the first modern city in China; and film popular media that reveal urbanism by nature. context and characteristics of Shanghai films is significant and because it is related to exploring the reality of fast urbanization in China.
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참고문헌 (62)
참고문헌 신청
Brooks, Peter / 1995 / The melodramatic imagination: Balzac, Henry James, melodrama, and the mode of excess / Columbia University Press
Browne, Nick / 1994 / New Chinese Cinemas: Forms, Identities, Politics / Cambridge University Press
Esherick, J. / 2006 / The Chinese Cultural Revolution as History / Stanford University Press
Zhang Yingjin / 1999 / Cinema and urban culture in Shanghai 1922-1943 / Stanford University Press
Zhang Yingjin / 2004 / Chinese national cinema / Routledge
Browne, Nick / 1994 / New Chinese Cinemas: Forms, Identities, Politics / Cambridge University Press
Esherick, J. / 2006 / The Chinese Cultural Revolution as History / Stanford University Press
Zhang Yingjin / 1999 / Cinema and urban culture in Shanghai 1922-1943 / Stanford University Press
Zhang Yingjin / 2004 / Chinese national cinema / Routledge
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