Pub Date : 2022-09-14DOI: 10.1080/17508061.2022.2120750
Yoshino Sugawara
Abstract Using the concept of ‘educational screen practice,’ this article aims to integrate the history of modern Chinese media—which has been dichotomised into pre-cinema and après-cinema—the history of lantern slides screenings and film screenings, and the history of educational and entertainment films. Lantern slides were brought to China at the end of the nineteenth century, and soon afterward they were used in Western-style schools and other educational institutions as a teaching tool to impart modern knowledge. At the beginning of the twentieth century, showing lantern slides and films became a popular leisure activity for students in new-style schools. At the same time, students studied in Japan began to use lantern slides and films for popular education. By the 1910s, the Jiangsu Educational Association and the Shanghai YMCA made active use of lantern slides and films to popularise the practice of visual screenings. The widespread use of visual media for popular education in the 1910s involved personnel that would emerge a decade later as leaders of the Chinese film industry and created a potential audience for cinema. To oversee educational screen practices more effectively, the Commercial Press and the Star Motion Picture Company operated as media conglomerates that encompassed film and print media and contributed to an ‘industry of enlightenment’ (Leo Ou-fan Lee). Thus, revising Chinese film history in terms of educational screen practices opens up a new horizon in the history of visual culture, connecting the divided histories of cinema and pre-cinema.
{"title":"From teahouse to classroom: Educational screen practice in Republican Shanghai","authors":"Yoshino Sugawara","doi":"10.1080/17508061.2022.2120750","DOIUrl":"https://doi.org/10.1080/17508061.2022.2120750","url":null,"abstract":"Abstract Using the concept of ‘educational screen practice,’ this article aims to integrate the history of modern Chinese media—which has been dichotomised into pre-cinema and après-cinema—the history of lantern slides screenings and film screenings, and the history of educational and entertainment films. Lantern slides were brought to China at the end of the nineteenth century, and soon afterward they were used in Western-style schools and other educational institutions as a teaching tool to impart modern knowledge. At the beginning of the twentieth century, showing lantern slides and films became a popular leisure activity for students in new-style schools. At the same time, students studied in Japan began to use lantern slides and films for popular education. By the 1910s, the Jiangsu Educational Association and the Shanghai YMCA made active use of lantern slides and films to popularise the practice of visual screenings. The widespread use of visual media for popular education in the 1910s involved personnel that would emerge a decade later as leaders of the Chinese film industry and created a potential audience for cinema. To oversee educational screen practices more effectively, the Commercial Press and the Star Motion Picture Company operated as media conglomerates that encompassed film and print media and contributed to an ‘industry of enlightenment’ (Leo Ou-fan Lee). Thus, revising Chinese film history in terms of educational screen practices opens up a new horizon in the history of visual culture, connecting the divided histories of cinema and pre-cinema.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"16 1","pages":"9 - 24"},"PeriodicalIF":0.3,"publicationDate":"2022-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"47741239","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-14DOI: 10.1080/17508061.2022.2120746
Shu-mei Lin
Abstract Studies on early cinema regard benshi as a figure that introduced and filtered foreign cultures through his narration and performance. Colonial Taiwan developed a benshi culture no less popular than mainland Japan. What makes Taiwanese benshi practices even more exceptional is the complexity and hybridity of the language-scape. By studying benshi in colonial Taiwan, this essay foregrounds the multilingual and multicultural elements that converged in the viewing space. Through investigating the confrontation between the police and the benshi affiliated with Taiwan Cultural Association that was active from 1926 to 1933, this article contends that the language hybridity cracked open a dynamic and provisional public sphere where the benshi contested colonial governance for more freedom of expression and political engagement. Drawing on colonial newspapers, archival records and interviews, I argue that dialects territorialize a provisional public sphere that endowed local film lecturers with limited agency from the total control of the colonial governance. Dialects used by the benshi exercised a dual function: it created cognitive borders in the colonial viewing space to limit colonial intervention on the one hand and carved up a public sphere where the discursively divided communities might be able to reconnect with each other (i.e. China and Taiwan), on the other.
{"title":"Borders in the film viewing space: Benshi and linguistic territorialization in colonial Taiwan, 1926–1933","authors":"Shu-mei Lin","doi":"10.1080/17508061.2022.2120746","DOIUrl":"https://doi.org/10.1080/17508061.2022.2120746","url":null,"abstract":"Abstract Studies on early cinema regard benshi as a figure that introduced and filtered foreign cultures through his narration and performance. Colonial Taiwan developed a benshi culture no less popular than mainland Japan. What makes Taiwanese benshi practices even more exceptional is the complexity and hybridity of the language-scape. By studying benshi in colonial Taiwan, this essay foregrounds the multilingual and multicultural elements that converged in the viewing space. Through investigating the confrontation between the police and the benshi affiliated with Taiwan Cultural Association that was active from 1926 to 1933, this article contends that the language hybridity cracked open a dynamic and provisional public sphere where the benshi contested colonial governance for more freedom of expression and political engagement. Drawing on colonial newspapers, archival records and interviews, I argue that dialects territorialize a provisional public sphere that endowed local film lecturers with limited agency from the total control of the colonial governance. Dialects used by the benshi exercised a dual function: it created cognitive borders in the colonial viewing space to limit colonial intervention on the one hand and carved up a public sphere where the discursively divided communities might be able to reconnect with each other (i.e. China and Taiwan), on the other.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"16 1","pages":"25 - 39"},"PeriodicalIF":0.3,"publicationDate":"2022-09-14","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46262621","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-05DOI: 10.1080/17508061.2022.2114732
Chialan Sharon Wang
{"title":"In the name of love: Female impasses within capitalist logic in Lou Ye’s The Shadow Play","authors":"Chialan Sharon Wang","doi":"10.1080/17508061.2022.2114732","DOIUrl":"https://doi.org/10.1080/17508061.2022.2114732","url":null,"abstract":"","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"47 12","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-09-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41257114","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-02DOI: 10.1080/17508061.2022.2115869
Jihoon Kim
Abstract This paper maps out several contemporary Chinese artists whose work of the moving image, be it installation, on mobile phones, on the app or website, is read as responding to the situation where various screens and their corresponding images or information are connected so deeply as to blur their previously established ontological and cultural boundaries. To this end, I expand Francesco Casetti’s idea of ‘hypertopia’, a new spatial structure in which cinema is unhinged from its traditional place and relocated into other places and platforms, through Hito Steyerl’s assertion on the migration of images and data, into, across, and off screens in the postinternet condition under which the world is perceived as the sum of the images and data themselves. If Casetti’s hypertopia points to cinema’s centrifugal relocation to other spaces than the movie theater, it can be argued that Steyerl’s insight into the postinternet condition concerns the centripetal folding of images and screens, including the cinematic, into a screen, so that it is seen as accommodating them in its inside. Developing this theoretical speculation, I characterize as ‘internal hypertopia’ an aesthetic trope of moving image pieces by such artists as aaajiao (aka Xu Wenkai) and Miao Ying.
{"title":"Internal hypertopias: A trope in the contemporary Chinese postinternet art of the moving image","authors":"Jihoon Kim","doi":"10.1080/17508061.2022.2115869","DOIUrl":"https://doi.org/10.1080/17508061.2022.2115869","url":null,"abstract":"Abstract This paper maps out several contemporary Chinese artists whose work of the moving image, be it installation, on mobile phones, on the app or website, is read as responding to the situation where various screens and their corresponding images or information are connected so deeply as to blur their previously established ontological and cultural boundaries. To this end, I expand Francesco Casetti’s idea of ‘hypertopia’, a new spatial structure in which cinema is unhinged from its traditional place and relocated into other places and platforms, through Hito Steyerl’s assertion on the migration of images and data, into, across, and off screens in the postinternet condition under which the world is perceived as the sum of the images and data themselves. If Casetti’s hypertopia points to cinema’s centrifugal relocation to other spaces than the movie theater, it can be argued that Steyerl’s insight into the postinternet condition concerns the centripetal folding of images and screens, including the cinematic, into a screen, so that it is seen as accommodating them in its inside. Developing this theoretical speculation, I characterize as ‘internal hypertopia’ an aesthetic trope of moving image pieces by such artists as aaajiao (aka Xu Wenkai) and Miao Ying.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"16 1","pages":"92 - 107"},"PeriodicalIF":0.3,"publicationDate":"2022-09-02","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48755325","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-09-01DOI: 10.1080/17508061.2022.2114991
D. Suher
{"title":"Chinese television at midnight: Television theory in the People’s Republic of China during the Reform Era","authors":"D. Suher","doi":"10.1080/17508061.2022.2114991","DOIUrl":"https://doi.org/10.1080/17508061.2022.2114991","url":null,"abstract":"","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-09-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45679635","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-29DOI: 10.1080/17508061.2022.2114708
Ling Kang
Abstract This article examines how the development of acoustic science changed the spatial configuration of movie theaters in China during the period between 1949 and 1966. The application of new acoustic technology not only caused a dramatic restructuring of movie theaters from the building’s material composition to the physical shapes of its walls and ceiling but also made crucial impacts on the conception of spectatorship and the discourse of cinematic realism. Taking the renovation project of Capital Theatre as an example, I show how the new cinematic space produced an immobile and individualized mode of spectatorship through the technological redistribution and management of individual bodies. Moreover, the growing technological capacity enabled technicians and recordists to imagine a different notion of cinematic realism, one that defined the verisimilitude of sonic ‘reality’ not in terms of its proximity to the empirical sound, but as the techno-perceptual effects within the sensory space of the movie theater. Drawing on sources from industry journal articles, construction reports, and academic papers by recordists, engineers, architects, acoustic technicians, etc., this article attempts to raise new problematics on the level of media infrastructure of socialist film and to promote meaningful dialogues with aesthetic, artistic and ideological issues.
{"title":"Stereo revolution: Acoustic science and cinematic spaces in socialist China (1949–1966)","authors":"Ling Kang","doi":"10.1080/17508061.2022.2114708","DOIUrl":"https://doi.org/10.1080/17508061.2022.2114708","url":null,"abstract":"Abstract This article examines how the development of acoustic science changed the spatial configuration of movie theaters in China during the period between 1949 and 1966. The application of new acoustic technology not only caused a dramatic restructuring of movie theaters from the building’s material composition to the physical shapes of its walls and ceiling but also made crucial impacts on the conception of spectatorship and the discourse of cinematic realism. Taking the renovation project of Capital Theatre as an example, I show how the new cinematic space produced an immobile and individualized mode of spectatorship through the technological redistribution and management of individual bodies. Moreover, the growing technological capacity enabled technicians and recordists to imagine a different notion of cinematic realism, one that defined the verisimilitude of sonic ‘reality’ not in terms of its proximity to the empirical sound, but as the techno-perceptual effects within the sensory space of the movie theater. Drawing on sources from industry journal articles, construction reports, and academic papers by recordists, engineers, architects, acoustic technicians, etc., this article attempts to raise new problematics on the level of media infrastructure of socialist film and to promote meaningful dialogues with aesthetic, artistic and ideological issues.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"16 1","pages":"58 - 73"},"PeriodicalIF":0.3,"publicationDate":"2022-08-29","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48961998","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-26DOI: 10.1080/17508061.2022.2114733
Zhenhui Yan
{"title":"My People, My Country: A Chinese ‘main-melody’ omnibus film and its spectatorship","authors":"Zhenhui Yan","doi":"10.1080/17508061.2022.2114733","DOIUrl":"https://doi.org/10.1080/17508061.2022.2114733","url":null,"abstract":"","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-08-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"42508269","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-08-23DOI: 10.1080/17508061.2022.2114712
Jifeng Huang, Bo Wang
{"title":"The self-contradiction and double identities in understanding anthropomorphic Sino-figures in Chinese post-colonial animation criticism studies","authors":"Jifeng Huang, Bo Wang","doi":"10.1080/17508061.2022.2114712","DOIUrl":"https://doi.org/10.1080/17508061.2022.2114712","url":null,"abstract":"","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-08-23","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"44286444","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-22DOI: 10.1080/17508061.2022.2101853
Yanping Guo
{"title":"The cinema of make-believe: Rural viewers’ early reception of film propaganda in socialist China","authors":"Yanping Guo","doi":"10.1080/17508061.2022.2101853","DOIUrl":"https://doi.org/10.1080/17508061.2022.2101853","url":null,"abstract":"","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-07-22","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"41617828","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
Pub Date : 2022-07-21DOI: 10.1080/17508061.2022.2101854
Chang-Min Yu
{"title":"Precocious modernism: Mou Tun-Fei’s I Didn’t Dare to Tell You (1969) and The End of the Track (1970)","authors":"Chang-Min Yu","doi":"10.1080/17508061.2022.2101854","DOIUrl":"https://doi.org/10.1080/17508061.2022.2101854","url":null,"abstract":"","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":" ","pages":""},"PeriodicalIF":0.3,"publicationDate":"2022-07-21","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48486465","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":3,"RegionCategory":"艺术学","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}
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