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Marie-Claire Quiquemelle, J. Passek (1985)
Le Cinéma chinois
T. Elsaesser (1990)
Early cinema: space frame narrativeThe American Economic Review
A. Friedberg (1993)
Window Shopping: Cinema and the Postmodern
(1977)
For an early attempt to theorize nonsynchronicity, see Ernst Bloch
(1922)
The National Film Center at the Tokyo Kokuritsu Kindai Bijutsukan [The National Museum of Modern Art
Peter Dahlgren (1978)
Interfaces of the Word: Studies in the Evolution of Consciousness and CultureThought: Fordham University Quarterly, 53
Rey Chow (1991)
Woman and Chinese Modernity: The Politics of Reading Between West and EastThe Journal of Asian Studies, 50
(1999)
Laborer’s Love and the Question of Early Chinese Cinema,” in Cinema and Urban Culture in Shanghai, 1922–1943, ed
(1993)
Miriam Hansen, Babel and Babylon: Spectatorship in American Film
(1931)
Yingmu yanshi' hou
Michael Jones, Andreas Huyssen (1989)
After the Great Divide: Modernism, Mass Culture, PostmodernismThe German Quarterly, 62
E. Bloch, M. Ritter (1977)
Nonsynchronism and the Obligation to Its DialecticsNew German Critique
John Fell (1983)
Film before Griffith
Giuliana Bruno (1992)
Streetwalking on a Ruined Map: Cultural Theory and the City Films of Elvira Notari
(1994)
Cinema Spectatorship before the Apparatus: The Public Taste for Reality in Fin-de-Siècle Paris
Noël Burch (1990)
Life To Those Shadows
(2020)
Phenomenology and the Film ExperienceThe Address of the Eye
P. Pickowicz, Yingjin Zhang (2000)
Cinema and Urban Culture in Shanghai, 1922-1943Pacific Affairs, 73
(1985)
For a study on reflexivity in film and literature, see Robert Stam, Reflexivity in Film and Literature: From Don Quixote to
(1989)
An Aesthetic of Astonishment: Early Film and the (In)credulous Spectator,
(1986)
Shi wei ‘ Wusi ’ yu dianying hua yi lunkuo ” [ An attempt at drawing a contour for the May Fourth movement and the cinema ] , in Ke Lin dianying wencun [ Selected extant writings of Ke Lin ]
(1983)
A.’s real name is Fu Wenhao, and she also appeared in films. She is allegedly the first Chinese woman to earn a driver’s license in the International Settlement of Shanghai
L. Mulvey (1975)
Visual Pleasure and Narrative CinemaScreen, 16
(1986)
The Vamp and the Machine
R. Stam (1985)
Reflexivity in Film and Literature: From Don Quixote to Jean-Luc Godard
(2000)
Verso, forthcoming). The present volume will no doubt make a
(1935)
Zi wo daoyan yilai,
W. Ong (1979)
Interfaces of the Word: Studies in the Evolution of Consciousness and
(1900)
Vernacular Embodiment in Early Chinese Film Culture
(1932)
Chugoku eiga no kaiko (1932-1964) [A retrospective of Chinese cinema
P. Petro (1989)
Joyless Streets: Women and Melodramatic Representation in Weimar Germany
1476 -77. The original English title for the film is Blind Love. For a synopsis of the film, see Zhongguo wusheng dianying juben
(1992)
I am grateful to Mitsuyo Wada-Marciano for acquiring the Japanese catalogues
(1996)
Wenxue gailiang chuyi” [Some modest proposals for the reform
(1982)
catalogues for retrospectives of Chinese film held in the early 1980s. See for example, Centre de Documentation sur le Cinéma Chinois, ed., Ombres électriques: Panorama du cinéma chinois 1925–1982
(1992)
While in the brothel she used the nickname Xiao Jinmudan (little golden peony). The veteran director Zheng Zhengqiu helped her to adopt a stage name
At the turn of the twentieth century, this practice was carried over to the modern spoken drama and subsequently cinema for some time
V. Schwarcz (1986)
The Chinese Enlightenment: Intellectuals and the Legacy of the May Fourth Movement of 1919
Walter Benjamin (2016)
One-Way Street
(1931)
Guan ‘Yingmu yanshi’ hou” [After watching An Amorous History of the Silver Screen], Yingxi shenghuo [Movie Weekly
(1918)
Hu Shi first experimented with vernacular writing and publishing when he studied in new-style schools in Shanghai as a teenager from 1904 -10 before he left for America
L. Williams (1994)
Viewing Positions: Ways of Seeing Film
(1995)
Zhongguo dianyingshi [History of Chinese film] (Beijing: Zhongguo guangbo dianshi chubanshe
M. Hansen (2000)
Fallen Women, Rising Stars, New Horizons: Shanghai Silent Film As Vernacular ModernismFilm Quarterly, 54
W. Benjamin (1989)
Theses on the Philosophy of History
P. Williams (1997)
Modern Chinese literary thought : writings on literature, 1893-1945The Journal of Asian Studies, 56
(1922)
Teahouse, Shadowplay, Bricolage: Laborer's Love and the Question of Early Chinese Cinema
(1976)
Zhongguo dianying shihua [Historical accounts of Chinese cinema] (Hong Kong
Shelley Stamp (2000)
Movie-Struck Girls: Women and Motion Picture Culture after the Nickelodeon
(1930)
Ke Lin entered the Shanghai film world as a left-wing writer in the early
(1922)
Changshiji [Collection of experiments] (1920; Shanghai
(1992)
An attempt at drawing a contour for the May Fourth movement and the cinema
Tom Gunning (1990)
The Cinema of Attractions Early Film, Its Spectator and the Avant-Garde
(1990)
1-8. The volume contains some pioneering studies on early Western cinema from multiple perspectives
(1986)
For a groundbreaking study on the exhibitionist mode of presentation of early cinema, which challenges the prevalent voyeurist paradigm used in studies of classical Hollywood cinema, see Tom Gunning
(1997)
Wode congying jingguo” [My experience with the cinema], in Zhongguo wusheng dianying [Chinese silent film], ed
(1975)
The most representative work that maps out the patriarchal structure of looking through the psychoanalytic method is Laura Mulvey's seminal essay
(1966)
Jianong congying huiyilu [Robert Kung’s memoires of his silver screen life
Aesthetic of Astonishment
Copyright © 2001 by Camera Obscura Camera Obscura 48, Volume 16, Number 3 Published by Duke University Press 229 Camera Obscura nese cinema as a mass-mediated yet culturally inï¬ected modern experience. Moreover, by inserting and foregrounding womanâs place, especially that of the ï¬rst generation of female stars, in the emerging public sphere represented by the cinema, I reconsider the relationship between cinema and the vernacular movement as well as the interaction of verbal and visual culture within the broader scenario of the democratization of writing and iconography. I argue that the ï¬gure of the actress in particular embodies the vernacular experience of modernity in early twentiethcentury China. âAmorousâ Historiography and Early Film Culture History, for Walter Benjamin, does not unfold in a âhomogeneous, empty time.â Likewise, historical thinking that attempts to seize in an illuminating ï¬ash the image of nonlinear time and heterogeneous experience, involves ânot only the ï¬ow of thoughts, but their arrest as well. . . . Where thinking suddenly stops in a conï¬guration pregnant with tensions, it gives that conï¬guration a shock, by which it crystallizes into a monad.â1 The year of 1931 in early Chinese ï¬lm history is for me one of those monadic
Camera Obscura – Duke University Press
Published: Jan 1, 2001
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