Journal of Chinese Cinemas最新文献

{"title":"Experimental shorts, film culture, and Third World Cinema in 1950s–1970s Hong Kong: An interview with Law Kar","authors":"Raymond Tsang, Tom Cunliffe","doi":"10.1080/17508061.2023.2266140","DOIUrl":"https://doi.org/10.1080/17508061.2023.2266140","url":null,"abstract":"AbstractLaw Kar provides a comprehensive overview of his thoughts on the historical development of left-wing and progressive cinema in Hong Kong from the 1940s–1970s. Law Kar introduces the concept of ­“spontaneous” in relation to “third cinema” produced in Hong Kong, which allows space for the critical thinking of the creative personnel working on the films and the audiences watching them. Law’s insights complicate the political horizon of left-wing films and moves beyond simply repeating the line of the studios’ dominating the films within the Cold War context; instead, what emerges is a political spectrum that is much wider than the studio. This not only echoes the idea of spontaneity laid out by Fanon in the decolonization project but challenges understanding of the strengths and weaknesses of progressive films and media in Hong Kong. Law Kar is a veteran film critic in Hong Kong. Since the 1960s he has served as editor for publications such as The Chinese Student Weekly (Zhongguo xuesheng zhoubao), Intellectual Biweekly (Zhishi fenzi shuang zhou kan), and made several experimental films such as Beg for Life (Qi shi). He later worked for the Hong Kong International Film Festival and Hong Kong Film Archive. He recently received the Award for Professional Achievement at the Hong Kong Film Awards. Disclosure statementNo potential conflict of interest was reported by the author.Notes1 Castle Peak refers to the Castle Peak Hospital, which was the oldest psychiatric hospital in Hong Kong, established in 1961.2 Miao Yu at the time worked for USIS as a full-time researcher, and edited and wrote for his own magazine in off office hours. His daughter Cora Miao later became a famous actress in Hong Kong. She starred in many of Ann Hui’s films including Boat People (1983) and Love in a Fallen City (1988). She is married to the Hollywood Chinese-American director Wayne Wong.3 Protect Diaoyutai Movement (Xianggang baowei diaoyutai shiwei shijian, 1971). The Diaoyutai movement or Baodiao movement (Defend the Diaoyu Islands Movement) mainly refers to the student movement in early 1970s Hong Kong, Taiwan and the overseas Chinese community that asserts Chinese sovereignty over the Diaoyu or Senkaku Islands. These movements inspired a lot of young Chinese students (mainly Hong Kong and Taiwan students) from across the political spectrum to rally against police brutality and Japanese and American imperialism.4 The 70s Biweekly was a radical magazine founded in 1970 by a group of young people composed of artists, writers, social workers and activists whose political positions ranged from anarchist to internationalist to Trotskyist. They include Ng Chung Yin, Chan Qing Wai and Mok Chiu-yu.5 Another short film directed by Law Kar.6 Law Kar said that there were several cine clubs to promote film appreciation and to discuss and criticize the local film industry, but only College Cine Club (1967-71) and Phoenix Cine Club (1974-1986) promoted amateur/indie filmmaking.7","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"71 3","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-11-01","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"135326089","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}

{"title":"Legacies of leftism in anti-Japanese war films – The working masses in the Union’s <i>Road</i> and <i>Sea</i>","authors":"Raymond Tsang","doi":"10.1080/17508061.2023.2266129","DOIUrl":"https://doi.org/10.1080/17508061.2023.2266129","url":null,"abstract":"AbstractIn Hong Kong film historiography, the films from the Union Film Enterprise Ltd (1952–1967) are totally separated from socialist arts and politics. In this paper, I argue that the working masses in Union’s films are derived from the legacies of leftism, which manifest in films about the anti-Japanese War of Resistance (kang ri). The Chinese leftism legacies, since the 1930s, are concerned with how human beings are formed socially rather than morally, that aesthetics are not separated from politics, and that learning and labor are not separated. Both Road (Lu Citation1959) and Sea (Hai, Citation1963) are directed by the same director Ng Wui. They share similar thematic concerns and aesthetic motifs of glorifying the heroic masses in the anti-Japanese war of resistance. These films can see how the ideas and practices of the New Democratic Revolution about the working masses in art and literature, born around the Second Sino-Japanese war, informed the left-wing films in Hong Kong. Also, given the censorship of films in colonial Hong Kong, these films shift the focus from showing the political parties (Chinese Communist Party and the Kuomintang) and army to the solidarity of the working masses.Keywords: Hong Kong Cantonese filmsAnti-Japanese filmsUnionZhonglianPeople massesNg Wui AcknowledgementsI would like to express my gratitude to Tom Cunliffe for his collaboration and insightful comments. Special thanks are also due to Bao Wei-hong for her valuable feedbacks on my draft for this article. Moreover, I am particularly thankful for Siwei’s mother, Zhang Xiao-jin. When I wrote this article, I was mourning her loss in Xingtai, Hebei. Before she passed away, she had taken me to visit the Counter-Japanese Military and Political University, where I discovered fascinating stories about anti-Japanese history in the northern part of China. It saddens me deeply that she did not live to see this article completed and published.Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 In his monograph on Hong Kong cinema, Stephen Teo states, ‘Fortunately, the leftist line in Cantonese film-making was not a hard ideological one. While they were not neutral, many of its actors and directors could hardly be considered true communist believers’ (Teo Citation1997, 45). The term ‘true communist believers’ is problematic. On what grounds can one be a ‘true communist believer’? Most leftist actors and directors did not or could not join the Communist party in Hong Kong. A leftist artist Lo Dun explains, ‘We were considered leftists. In our daily lives, we were followed by special agents. During the Korean War, the Hong Kong Government arrested ten persons from our group and deported them. They also arrested Fu Qi and Shi Hui and put them in jail. In fact, I don’t belong to any party. I was influenced by revolutionary ideology in my youth in Guangzhou and believe that art should be put at the service of politics. Artists can’t be","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"19 2","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-26","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136382049","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}

{"title":"The abortive revolution: The South China Film Company in early Cold War Hong Kong (1949–1952)","authors":"Mian Chen","doi":"10.1080/17508061.2023.2266112","DOIUrl":"https://doi.org/10.1080/17508061.2023.2266112","url":null,"abstract":"AbstractAlthough existing scholarship is paying increasing attention to leftist cinema in Cold War Hong Kong, few works fully examine the Chinese Communist Party’s (CCP’s) revolutionary filmmaking practices during the early Cold War. Centering on the short-lived leftist studio South China Film Company (1949–1952), this paper argues that the studio’s development epitomized the CCP’s efforts to transform cinematic representation for multiple revolutionary purposes and strengthen the Party’s mobilization of filmmaking communities, which were eventually crushed by escalating conflicts between colonial authorities and the CCP. The films produced by South China Film Company exemplified the CCP’s ambitions to appeal to a Cantonese-speaking local audience and later, to carry out more radical ideological campaigns, influence overseas Chinese in Southeast Asia, and conduct thought reform of intellectuals. Film production was accompanied by mobilization of leftist filmmakers. The ideological message and mobilization led to a crackdown by colonial authorities and further drove the CCP to adopt a more implicit approach to launching ideological campaigns. This paper revises the history of South China Film Company and unsettles the existing historiography of Hong Kong leftist cinema that centers mainly on moderation and balance.Keywords: Cold WarHong Kong leftist cinemaSouth China Film CompanyCCP AcknowledgementsI appreciate the insightful comments from Raymond, Tom, and the anonymous reviewer. I would like to thank Daisy Du, Shengqing Wu, and Rita Lin for their comments on earlier drafts of this paper. I also thank Yiqiao Wang for her invaluable assistance in fact checking materials at the HKFA during this pandemic that makes cross-border research travel extremely difficult.Disclosure statementNo potential conflict of interest was reported by the authors.Notes1 ‘Communist Infiltration of Hong Kong Film Industry,’ from Alfred le S. Jenkins to the Department of State, July 26, 1950. Hong Kong U.S. Consulate General, RG 84, Entry 2689, Box 2, Stack 350, Row 60, Compartment 20, Shelf 2, Folder ‘Miscellaneous 1954’, NARA.2 On October 7, 1949, Cai (Citation2006, 318) recorded in his diary that he ‘received a letter from Hong Kong stating that our studio was qiangxing shouhui/ confiscated by the Hong Kong government…I feel worried about the future of South China.’ I could not find more details about this incident, and I am not sure whether the action was targeted at Tears of the Pearl River. However, it seems that the colonial government tried to interrupt the early productions of South China Film Company at least once.3 ‘Communist Infiltration of Hong Kong Film Industry,’ from Alfred le S. Jenkins to the Department of State, July 26, 1950, page 4.4 The cited website 1967.hk.com was created by Wu Dizhou’s family, featuring a biography of Wu and original documents collected by Wu. Some of these documents were published in Wu (Citation2022).5 For more information about","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"3 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136295369","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}

{"title":"The left-wing legacy in ’70s Hong Kong television: <i>Chameleon</i> (1978) and Lee Sil-hong’s Rediffusion (RTV) tetralogy","authors":"Derek Lam","doi":"10.1080/17508061.2023.2266134","DOIUrl":"https://doi.org/10.1080/17508061.2023.2266134","url":null,"abstract":"AbstractA missing chapter in the history of postwar left-wing Hong Kong cinema involves the channeling of its energies into television in the 1970s. At Rediffusion (RT V), producer Lee Sil-hong – son of director Lee Sun-fung – mobilized veterans from the classical period of the left-wing studios to produce a tetralogy of serialized television dramas that represent the apotheosis of the jiating lunli pian, not only resurrecting the spirit behind such classic Union melodramas as In the Face of Demolition (1953) or their celebrated adaptation of Ba Jin’s “Torrents” trilogy, but doing so with an epic ambition with regard to historical scope and scale that had been inconceivable even in the heyday of left-wing Hong Kong cinema in the 1950s. Providing a panoramic account of twentieth-­century Chinese history, Lee’s tetralogy – Chameleon (1978), Gone with the Wind (1980), Fatherland (1980), and Hong Kong Gentlemen (1981) – predates by at least a decade attempts by China’s Fifth Generation, New Taiwan Cinema, and the Hong Kong New Wave to address such subject matter in comparable fashion through the social epic or family melodrama. Factors that made possible Lee’s achievement include: (i) the central importance of television as a medium for the expression of local cultural identity during the period of Hong Kong’s economic takeoff, (ii) the renewal on television of left-wing filmmaking philosophy and practices inherited from Thirties Shanghai and Fifties Hong Kong, and (iii) the social realist sensibility of the left-wing tradition – along with its strong interest in the transcultural adaptation of foreign literature – that allowed it to frame local experience in terms of the global, benefitting from an awareness of both the 19th-century European novel and the contemporary American television epic. Situating Lee’s tetralogy within the broader historical context of persistent Chinese left-wing efforts across generations to contest politically rival screen practices, this essay analyzes Chameleon for its distinctive worldview and methods characteristic of the jiating lunli pian, while assessing its functional aesthetic as rooted in the literature-inspired realist melodrama with didactic aims – an inherited tradition to which it contributed a magisterial endpoint but beyond which it was unwilling to advance, unlike the groundbreaking modernism of the Hong Kong New Wave’s television work.Keywords: jiating lunli pianUnion Film (Zhonglian)Cantonese melodramatranscultural adaptationAT V (Asia Television Limited)Lee Sun-fungChinese left-wing cinemaleft-wing television Disclosure StatementNo potential conflict of interest was reported by the author.Notes1 As Cheuk (Citation2008) observes, television production in Hong Kong was never more closely associated with the film industry than during this period, and connections between the two mediums should not be overlooked.2 Examples include from China To Live (1994) and The Blue Kite (1993); from Taiwan A City of Sadn","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"89 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"136295518","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}

{"title":"Introduction to special issue on Hong Kong left-wing cinema 1950s-1970s, <i>Journal of Chinese Cinemas</i>","authors":"Tom Cunliffe, Raymond Tsang","doi":"10.1080/17508061.2023.2266249","DOIUrl":"https://doi.org/10.1080/17508061.2023.2266249","url":null,"abstract":"","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"437 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134975181","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}

{"title":"Identity dismissed: Hong Kong leftist cinema of the 1950s","authors":"Ching Yau","doi":"10.1080/17508061.2023.2266122","DOIUrl":"https://doi.org/10.1080/17508061.2023.2266122","url":null,"abstract":"AbstractThere has been a reconstitution of a ‘local’ identity in opposition to leftist politics in articulating recent pro-democratic activist movements in Hong Kong. In light of this context, this article examines this historical formation through the lens of using Hong Kong leftist cinema of the 1950s, especially productions from the Union Film Studio, as a case study. Through focusing on some key examples from the Hong Kong Cantonese leftist cinema of the 1950s, this paper traces the historical construction of a politicized ethical consciousness in Hong Kong poignant throughout the 1950s but became increasingly marginalized from the mid-1960s on. It argues that the class and gender analysis that post-war filmmakers made of colonial capitalism needs to be re-read in relation to a form of Chinese anti-imperial patriotism heavily marked by traumatized historical feelings from feudal, colonial and wartime experiences, driven by an emotional need for an idealized community through identifying with the underclass and the dispossessed. It proposes a reconsideration of Hong Kong’s cultural and film histories through mapping the development of this politicized film discourse which has inherited the rich tradition of Shanghai leftist cinema while fueled with an anti-colonial, anti-capitalist ethic to effectively respond to the post-war Chinese refugee-dominated society. This article problematizes the often taken-for-granted meanings and values of a Hong Kong ‘local’ identity defined as opposed to those of Mainland China, serving to perpetuate the Cold War binarism, and argues that the successful neoliberalization of Hong Kong from the 1970s on is a result of the collaborative efforts among the PRC ‘extreme left’ during the Cultural Revolution, globalized Cold War forces, KMT cultural-political demands from Taiwan, and British colonial polices, not without irony.Keywords: Sinophone cinemasHong Kong film historyHong Kong local identity and cultural politicsBritish colonial modernityCold War Disclosure statementNo potential conflict of interest was reported by the author(s).Notes1 This article is revised from a paper presented at the “Neomoralism Under Neoliberalism International Conference,” held at Lingnan University in Hong Kong in 2014.The paper draft was first translated by Ernest Fung from Chinese, then revised and shortened significantly by Yau Ching for this journal issue. I would like to particularly acknowledge the support from the reviewers whose suggestions and comments have made this paper more sound and coherent. Special thanks to Natalia Chan Lokfung in helping to confirm citations.2 I use “leftist” and “left-wing” inter-changeably in this article. Although they might have different connotations according to context, these terms refer to a community of public cultural workers with pro-socialist identifications and values in the historical context studied in this article. Likewise, “rightist,” “right-leaning” and “right-wing” for the opposite","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"97 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134975480","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}

{"title":"Labour strikes in the dying light of Hong Kong left-wing cinema","authors":"Tom Cunliffe","doi":"10.1080/17508061.2023.2266130","DOIUrl":"https://doi.org/10.1080/17508061.2023.2266130","url":null,"abstract":"The Younger Generation (1971), made at the Hong Kong left-wing studio Great Wall, is a family melodrama that specifically outlines the accumulation imperative by which the industrialist capitalist implements exploitative practices to gain more and more value out of the workers at a factory. This film depicts female factory workers’ solidarity when they decide to pursue collective action and strike in protest against these inhumane working conditions. This essay focuses on how this film negotiates class relations in Hong Kong society, how it resists and critiques the dominant ideology of capitalism in 1970s Hong Kong, gives a voice to those whose voice is rarely heard in commercial cinema and in the power structures that define who has the right to be heard, and finally how it proffers, however mildly, a more positive and optimistic vision. By contextualising the historical conditions within which the film was made, this essay assesses how this film responds to Hong Kong’s colonial capitalist conditions and argues against the critical consensus that the Hong Kong left-wing cinema made during the Cultural Revolution period was all merely communist propaganda. Instead, it looks at how the film identifies the structural inequalities caused by capitalism and articulates the importance of labour struggle to help create a more just world, and as such contributes to global discourses on labour struggle.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"55 1","pages":"0"},"PeriodicalIF":0.0,"publicationDate":"2023-10-05","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"134975182","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}

{"title":"Projecting the ‘Modern’: The reconstruction of urban cinemas in post-Mao China, 1987–1989","authors":"Yiyang Hou","doi":"10.1080/17508061.2022.2124076","DOIUrl":"https://doi.org/10.1080/17508061.2022.2124076","url":null,"abstract":"Abstract In the midst of China’s market reform during the 1980s, urban cinemas were at the center of the changing cultural landscape, revealing how quickly a distinct urban space could consume, digest, and recycle various consumerist attractions adapted from the West. Following the China Film Corporation’s call for a nation-wide reconstruction of urban movie theaters in 1987, moviegoing as a historically and socially defined activity became deeply rooted in, and further complicated by, urban consumers’ modern experience of public life. By 1991, nearly 2000 movie theaters across China had been renovated and commercialized, contributing significantly to the remapping of China’s urban geography. Through examining newspapers, magazines and floorplans published in the late 1980s, this article proposes a reconsideration of post-Mao urban culture in relation to this unprecedented change in the spatial refashioning of urban cinemas. I argue that the reconstructed movie theater illustrates the complex connections between state policy and mass consumption in the wake of China’s turn to marketization.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"16 1","pages":"74 - 91"},"PeriodicalIF":0.3,"publicationDate":"2022-10-10","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"48591626","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}

{"title":"Building the nation on 16mm: Film formats and the institutionalization of cinematic portability in 1930s China","authors":"Hongwei Chen","doi":"10.1080/17508061.2022.2120370","DOIUrl":"https://doi.org/10.1080/17508061.2022.2120370","url":null,"abstract":"Abstract This article examines the role played by the 16 mm format in shaping ideas of portable projection in 1930s China. Drawing on research into the Chinese educational film movement, I argue for a format-oriented approach to cinema history that tracks heretofore neglected aspects of how the state—as well as non-state actors—exercised power on and through cinema. As a portable format, 16 mm extracted cinema from urbanized film culture while offering its users access to a broader ‘national’ audience. Educators built a mobile 16 mm network connecting schools and mass education sites and formulated a discourse that sought to codify the place of ‘small scale cinema’ in the Chinese nation and in global media hierarchies. Small scale cinema was deeply contradictory. While promising to make cinema broadly accessible to the Chinese masses, 16 mm also restricted that access. While seemingly liberating cinema from the sway of global film culture and China’s treaty-port cosmopolitanism, 16 mm subjected mass education to other patterns of asymmetrical development. By examining how educational cinema was formed at the intersection of global film technologies and local institutional discourses, I formulate an approach to cine-governmentality that shows how the state’s control of cinema worked from the bottom up, as actors on multiple scales negotiated chaotic circulations of films, equipment, and ideas.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"16 1","pages":"40 - 57"},"PeriodicalIF":0.3,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"46040400","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}

{"title":"Locating Chinese screens: Introduction to a special issue on film exhibition","authors":"Chenshu Zhou","doi":"10.1080/17508061.2022.2127586","DOIUrl":"https://doi.org/10.1080/17508061.2022.2127586","url":null,"abstract":"Abstract This introduction situates the topic of film exhibition in Chinese and Sinophone cinema studies in relation to the approaches of new cinema history and the crisis of traditional cinematic institutions brought about by digitization and the COVID-19 pandemic. It gives an overview of the contributions by drawing several broad conclusions, highlighting problems of infrastructure, educational cinema, the relationship between what is on and off screen, and the contextualization of film exhibition in cultural history.","PeriodicalId":43535,"journal":{"name":"Journal of Chinese Cinemas","volume":"16 1","pages":"1 - 8"},"PeriodicalIF":0.3,"publicationDate":"2022-10-03","publicationTypes":"Journal Article","fieldsOfStudy":null,"isOpenAccess":false,"openAccessPdf":"","citationCount":null,"resultStr":null,"platform":"Semanticscholar","paperid":"45108576","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}