{"title":"出轨之后","authors":"D. Miyao","doi":"10.5325/reception.14.1.0042","DOIUrl":null,"url":null,"abstract":"\n A discernible identity of the Japanese American film audience coalesced at a pivotal moment in the history of Japanese immigrants in the United States. That audience formed amidst a discrete event in early American cinema, the release of Cecil B. DeMille’s The Cheat in December 1915. The social construction of that audience emerged as a result of both the historical forces and the public discourses at work: 1) the social circumstances, particularly on the West Coast of the United States, involving intensifying racist thinking; and 2) the discursive event that was negotiated publicly as a controversial response to The Cheat in Japanese American publications. The production of a Japanese American film audience was inevitable by the mid-1910s, and The Cheat was the nodal point. Still, the public controversy over The Cheat in the important Japanese American newspaper Rafu Shimpo made the formation of such a filmgoing identity complicit and transparent.","PeriodicalId":40584,"journal":{"name":"Reception-Texts Readers Audiences History","volume":"51 1","pages":""},"PeriodicalIF":0.1000,"publicationDate":"2022-07-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":"0","resultStr":"{\"title\":\"After The Cheat\",\"authors\":\"D. Miyao\",\"doi\":\"10.5325/reception.14.1.0042\",\"DOIUrl\":null,\"url\":null,\"abstract\":\"\\n A discernible identity of the Japanese American film audience coalesced at a pivotal moment in the history of Japanese immigrants in the United States. That audience formed amidst a discrete event in early American cinema, the release of Cecil B. DeMille’s The Cheat in December 1915. The social construction of that audience emerged as a result of both the historical forces and the public discourses at work: 1) the social circumstances, particularly on the West Coast of the United States, involving intensifying racist thinking; and 2) the discursive event that was negotiated publicly as a controversial response to The Cheat in Japanese American publications. The production of a Japanese American film audience was inevitable by the mid-1910s, and The Cheat was the nodal point. Still, the public controversy over The Cheat in the important Japanese American newspaper Rafu Shimpo made the formation of such a filmgoing identity complicit and transparent.\",\"PeriodicalId\":40584,\"journal\":{\"name\":\"Reception-Texts Readers Audiences History\",\"volume\":\"51 1\",\"pages\":\"\"},\"PeriodicalIF\":0.1000,\"publicationDate\":\"2022-07-01\",\"publicationTypes\":\"Journal Article\",\"fieldsOfStudy\":null,\"isOpenAccess\":false,\"openAccessPdf\":\"\",\"citationCount\":\"0\",\"resultStr\":null,\"platform\":\"Semanticscholar\",\"paperid\":null,\"PeriodicalName\":\"Reception-Texts Readers Audiences History\",\"FirstCategoryId\":\"1085\",\"ListUrlMain\":\"https://doi.org/10.5325/reception.14.1.0042\",\"RegionNum\":0,\"RegionCategory\":null,\"ArticlePicture\":[],\"TitleCN\":null,\"AbstractTextCN\":null,\"PMCID\":null,\"EPubDate\":\"\",\"PubModel\":\"\",\"JCR\":\"0\",\"JCRName\":\"HUMANITIES, MULTIDISCIPLINARY\",\"Score\":null,\"Total\":0}","platform":"Semanticscholar","paperid":null,"PeriodicalName":"Reception-Texts Readers Audiences History","FirstCategoryId":"1085","ListUrlMain":"https://doi.org/10.5325/reception.14.1.0042","RegionNum":0,"RegionCategory":null,"ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":null,"EPubDate":"","PubModel":"","JCR":"0","JCRName":"HUMANITIES, MULTIDISCIPLINARY","Score":null,"Total":0}
引用次数: 0
摘要
在日本移民美国历史上的关键时刻,日裔美国电影观众的一种明显的身份融合在一起。1915年12月,塞西尔·b·德米尔(Cecil B. DeMille)的《骗子》(the Cheat)上映,这是美国早期电影史上的一个独立事件。观众的社会建构是历史力量和公共话语共同作用的结果:1)社会环境,特别是在美国西海岸,涉及种族主义思想的加剧;2)在日裔美国人的出版物中,作为对《欺骗》的有争议的回应而公开协商的话语事件。到20世纪10年代中期,日裔美国人电影观众的产生是不可避免的,而《骗子》是一个转折点。尽管如此,日裔美国人重要报纸《拉夫新报》(Rafu Shimpo)对《欺骗》(the Cheat)的公开争议,使这种观影身份的形成变得复杂而透明。
A discernible identity of the Japanese American film audience coalesced at a pivotal moment in the history of Japanese immigrants in the United States. That audience formed amidst a discrete event in early American cinema, the release of Cecil B. DeMille’s The Cheat in December 1915. The social construction of that audience emerged as a result of both the historical forces and the public discourses at work: 1) the social circumstances, particularly on the West Coast of the United States, involving intensifying racist thinking; and 2) the discursive event that was negotiated publicly as a controversial response to The Cheat in Japanese American publications. The production of a Japanese American film audience was inevitable by the mid-1910s, and The Cheat was the nodal point. Still, the public controversy over The Cheat in the important Japanese American newspaper Rafu Shimpo made the formation of such a filmgoing identity complicit and transparent.
期刊介绍:
Reception: Texts, Readers, Audiences, History is a scholarly, peer-reviewed journal published once a year. It seeks to promote dialog and discussion among scholars engaged in theoretical and practical analyses in several related fields: reader-response criticism and pedagogy, reception study, history of reading and the book, audience and communication studies, institutional studies and histories, as well as interpretive strategies related to feminism, race and ethnicity, gender and sexuality, and postcolonial studies, focusing mainly but not exclusively on the literature, culture, and media of England and the United States.