Early Film Culture in Hong Kong, Taiwan, and Republican China : Kaleidoscopic Histories / Emilie Yueh-yu Yeh, editor.

Issued as part of book collections on Project MUSE.

Includes bibliographical references and index.

Introduction / Emilie Yueh-yu Yeh -- part I. Revising historiography : early film culture in Hong Kong, Taiwan, and Guangzhou -- 1. Translating yingxi : Chinese film genealogy and early cinema in Hong Kong / Emilie Yueh-yu Yeh -- 2. Magic lantern shows and screen modernity in colonial Taiwan / Laura Jo-Han Wen -- 3. From an imported novelty to an indigenized practice : Hong Kong cinema in the 1920s / Ting-yan Cheung and Pablo Sze-pang Tsoi -- 4. Enlightenment, propaganda, and image creation : a descriptive analysis of the usage of film by the Taiwan Education Society and the colonial government before 1937 / Daw-Ming Lee -- 5. "Guangzhou film" and Guangzhou urban culture : an overview / Hui Liu, Shi-Yan Chao, and Richard Xiaying Xu -- 6. The Way of The platinum dragon : Xue Juexian and the sound of politics in 1930s Cantonese cinema / Kenny K.K. Ng -- part II. Intermediaries, Cinephiles, and Film Literati -- 7. Toward the opposite side of "vulgarity" : the birth of cinema as a "healthful entertainment" and the Shanghai YMCA / Yoshino Sugawara -- 8. Movie matchmakers : the intermediaries between Hollywood and China in the early twentieth century / Yongchun Fu -- 9. The Silver Star group : a first attempt at theorizing wenyi in the 1920s / Enoch Yee-lok Tam -- 10. Forming the movie field : film literati in Republican China / Emilie Yueh-yu Yeh and Enoch Yee-lok Tam -- 11. Rhythmic movement, metaphoric sound, and transcultural transmediality : Liu Na'ou and The man who has a camera (1933) / Ling Zhang.

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This volume features new work on cinema in early twentieth-century Hong Kong, Taiwan, and Republican China. Looking beyond relatively well-studied cities like Shanghai, these essays foreground cinema's relationship with imperialism and colonialism and emphasize the rapid development of cinema as a sociocultural institution. These essays examine where films were screened; how cinema-going as a social activity adapted from and integrated with existing social norms and practices; the extent to which Cantonese opera and other regional performance traditions were models for the development of cinematic conventions; the role foreign films played in the development of cinema as an industry in the Republican era; and much more.

Description based on print version record.