Journal of Chinese Film Studies最新文献_第4页

Theory of the Filmic: Classical Interpretation of Chinese Film Aesthetics 电影理论:中国电影美学的经典诠释

Journal of Chinese Film Studies Pub Date : 2023-03-30 DOI: 10.1515/jcfs-2023-0013

Leilei Jia

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The Role of Association: New Thinking on “Exposition, Comparison, Association” in Films 联想的作用:对电影“阐述、比较、联想”的新思考

Journal of Chinese Film Studies Pub Date : 2023-03-30 DOI: 10.1515/jcfs-2023-0009

Haizhou Wang, Jian Yu

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Perspectives on Narrative Time in Chinese Cinema 中国电影的叙事时间透视

Journal of Chinese Film Studies Pub Date : 2023-03-28 DOI: 10.1515/jcfs-2023-0010

Haizhou Wang, Ming Ding

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Analysis of China’s Film Industry in 2022 2022年中国电影产业分析

Journal of Chinese Film Studies Pub Date : 2023-03-27 DOI: 10.1515/jcfs-2023-0011

Hong-Yan Yin, Haoyue Xu

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Jinxed by Incantation? Contemporary Chinese Netizens’ Reactions to a Horror Film 被咒语施了恶咒?当代中国网民对恐怖片的反应

Journal of Chinese Film Studies Pub Date : 2023-03-15 DOI: 10.1515/jcfs-2022-0036

Aiqing Wang

{"title":"Jinxed by Incantation? Contemporary Chinese Netizens’ Reactions to a Horror Film","authors":"Aiqing Wang","doi":"10.1515/jcfs-2022-0036","DOIUrl":"https://doi.org/10.1515/jcfs-2022-0036","url":null,"abstract":"Abstract Incantation is a horror film released in the Republic of China (Taiwan) in March 2022, which is inspired by a real-life story and features a woman’s rescue of her six-year-old daughter after the latter is cursed by an abhorrent deity with occult powers. This film is adulated as one of the scariest Taiwanese films and attained prodigious commercial success. Nonetheless, in mainland China, Incantation is regarded as more of a contentious film than a fearsome one: audiences’ prevalent feedback is that they feel jinxed and offended, as indicated by their complaints on social media platforms as well as reviewing and question-and-answer websites. The primary reason lies in that the film’s heroine breaks the fourth wall and addresses audiences directly, which is further intensified by the film’s mockumentary shooting style and found-footage technique. In this research, I explore the rationale behind Chinese audiences’ negative and emotional comments on Incantation from a viewer’s perspective, by means of investigating their self-initiated comments and user-generated responses in China’s cyberspace, focusing on feedback posted on Weibo, Douban and Zhihu. Data cumulated from these sources manifest Chinese netizens’ mindset concerning contentious religious/supernatural discourse in cyberspace as well as their rationality towards superstitious constructs.","PeriodicalId":342453,"journal":{"name":"Journal of Chinese Film Studies","volume":"4 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"128975127","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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“Home, Sweet Home”: Identity and Diaspora in Bai Jing-rui’s Qiong Yao Films “家，甜蜜的家”:白景瑞琼瑶电影中的身份与流散

Journal of Chinese Film Studies Pub Date : 2023-03-15 DOI: 10.1515/jcfs-2022-0034

Xuelin Zhou

{"title":"“Home, Sweet Home”: Identity and Diaspora in Bai Jing-rui’s Qiong Yao Films","authors":"Xuelin Zhou","doi":"10.1515/jcfs-2022-0034","DOIUrl":"https://doi.org/10.1515/jcfs-2022-0034","url":null,"abstract":"Abstract This paper discusses the Qiong Yao films directed by Bai Jing-rui in the 1970s, arguing that these romantic dramas took a proactive part in representing a cultural identity in Taiwan society of the time. The paper investigates how various issues, such as “home”, nationhood and diaspora, are treated in the films. In the process, the paper situates the filmic discussion in the wider context of a highly politicised environment in general and the industrial discourses of “healthy realism” and “healthy variety-show” in particular. The paper proposes that Bai Jing-rui’s Qiong Yao films grew out of a push-and-pull between three elements: (1) the authorities that wanted to promote certain moral and political messages; (2) Bai Jing-rui as an auteur strongly committed to the art of filmmaking; and (3) the audience at large whose support was needed to sustain a film industry. The paper gives close attention to how Bai’s Qiong Yao films tried various ways of reconciling those competing forces. As case studies, the paper examines closely two of Bai Jing-rui’s Girl Friend (1975) and Far Away from Home (1977) to show how they blended modernity with nativism in articulating a sense of cultural identity.","PeriodicalId":342453,"journal":{"name":"Journal of Chinese Film Studies","volume":"203 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-15","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114232526","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

A Revisionist Reading of The Goddess: Visual Narrative Power in Chinese Silent Cinema 《女神》的修正解读:中国无声电影的视觉叙事力量

Journal of Chinese Film Studies Pub Date : 2023-03-10 DOI: 10.1515/jcfs-2021-0021

K. K. Ng

{"title":"A Revisionist Reading of The Goddess: Visual Narrative Power in Chinese Silent Cinema","authors":"K. K. Ng","doi":"10.1515/jcfs-2021-0021","DOIUrl":"https://doi.org/10.1515/jcfs-2021-0021","url":null,"abstract":"Abstract This article argues for a revisionist reading of The Goddess to redirect critical attention to its film form and narrative style. Yet, it also explores the social-economic and technological conditions of filmmaking in early Chinese cinema that circumvented the filmmaker’s aesthetic choices and devices. A political reading of the film within either the leftist-progressive or nationalist agenda is inadequate in explicating the film’s narrative capacity and affective power in engaging social commentary. Reading The Goddess as a Chinese manifestation of Hollywood’s maternal melodrama has equally dismissed the film’s contestation of the complex political and ideological discourses in which it was produced. Inspired by a neoformalist approach to studying film form and social reality, this article articulates the working of Wu Yonggang’s cinematic style as a crafted combination of artistic choices and interventions, which are made within the classical Hollywood paradigm and Soviet montage, to define an early Chinese cinematic language that is specific to 1930s Shanghai film industry and Chinese society, the filmmaker’s aesthetic pursuit, and Ruan Lingyu’s stardom.","PeriodicalId":342453,"journal":{"name":"Journal of Chinese Film Studies","volume":"23 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-03-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"116702822","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0

Laborer’s Love: An Anthropotechnogenetic Mediation Between Cinematism and Animetism 劳动者的爱:电影主义与动画主义之间的人类技术调解

Journal of Chinese Film Studies Pub Date : 2022-11-01 DOI: 10.1515/jcfs-2021-0041

Victor Fan

{"title":"Laborer’s Love: An Anthropotechnogenetic Mediation Between Cinematism and Animetism","authors":"Victor Fan","doi":"10.1515/jcfs-2021-0041","DOIUrl":"https://doi.org/10.1515/jcfs-2021-0041","url":null,"abstract":"Abstract How can media philosophy help us rehistoricize Zhang Shichuan (director) and Zheng Zhengqiu’s (screenwriter) Laogong zhi aiqing [Laborer’s Love, 1922] and foster a deeper understanding of its aesthetics within its historical context? In this article, I take Zhang Zhen’s (1999, 27–50) book chapter on the film, “Teahouse, Shadowplay, Bricolage Cinema,” as a point de départ of my investigation. I argue that Laborer’s Love is best understood as part of a larger media ecology that has always been in transition, or more properly speaking, always in a process of becoming. I want to demonstrate that in the film, the hybridity between a more presentational style that stemmed from early-twentieth-century Chinese theater and a more representational style that stemmed from American cinema may not be a symptom of the film’s transitionality. Rather, such hybridity might have been Zhang Shichuan’s conscious stylistic choice. Also, in the light of Thomas Lamarre’s understanding of the cinema as a negotiation between two relationships between the human and the machine—cinematism (an alignment between the human body and the moving trajectory of the machine) and animetism (a positing of the body within a moving machine)—we can rethink the film as an anthropotechnical mediation between these two relationships.","PeriodicalId":342453,"journal":{"name":"Journal of Chinese Film Studies","volume":"16 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"115468778","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

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Chinese Film in the 1930s: Potential Energy and “Left-Wing” Influence 20世纪30年代的中国电影:势能与“左翼”影响

Journal of Chinese Film Studies Pub Date : 2022-11-01 DOI: 10.1515/jcfs-2022-0035

Ji Yu

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Beyond Labourer’s Love: Rethinking Early Chinese Film Comedy 超越劳动者的爱情:对中国早期喜剧电影的再思考

Journal of Chinese Film Studies Pub Date : 2022-11-01 DOI: 10.1515/jcfs-2022-0024

Xuelei Huang

{"title":"Beyond Labourer’s Love: Rethinking Early Chinese Film Comedy","authors":"Xuelei Huang","doi":"10.1515/jcfs-2022-0024","DOIUrl":"https://doi.org/10.1515/jcfs-2022-0024","url":null,"abstract":"Abstract This article examines three lost short comedies produced alongside Labourer’s Love by the Mingxing Film Studio in 1922: The King of Comedy Visits Shanghai (Huaji dawang you hu ji), Havoc in a Bizarre Theatre (Danao guai xichang), and The Naughty Kid (Wantong). I propose to look beyond the extant Labourer’s Love and instead to delve into the broader intertextual, intermedial fabric of early film comedy for a re-evaluation of this neglected genre. Drawing on advertising texts, stills, and film reviews, this study corrects misinformation and supplements new data, based on which I posit two notions for a reconceptualization of early Chinese comedy film. First, I propose the Chinese concept of renao (“hot noise”) as a particular sensorial-somatic mode of experience to account for the Chinese engagement with film comedy in the tumultuous 1920s. Second, I borrow the Chinese poetic device of allusion to interpret their widespread references to Hollywood films in structural, narrative, and visual terms. Through the prism of allusion, the appropriation and re-production of Hollywood elements can be regarded as a means of adding authority to inchoate Chinese filmmaking, while at the same time complicating familiar topoi, symbols, and imageries in culturally sensitive ways.","PeriodicalId":342453,"journal":{"name":"Journal of Chinese Film Studies","volume":"124 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2022-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"114372636","PeriodicalName":null,"FirstCategoryId":null,"ListUrlMain":null,"RegionNum":0,"RegionCategory":"","ArticlePicture":[],"TitleCN":null,"AbstractTextCN":null,"PMCID":"","EPubDate":null,"PubModel":null,"JCR":null,"JCRName":null,"Score":null,"Total":0}

引用次数: 0