Constructions of cultural identities in newsreel cinema and television after 1945
Studies on Chinese early cinema and its extended history in the Republican period (1911–1949) have trod a rocky path.1 After the founding of the People’s Republic in 1949, film historiography developed into a guarded field, even until today. In the immediate postwar time the term “Republican” was ta...
- Autores:
- Tipo de recurso:
- Book
- Fecha de publicación:
- 2018
- Institución:
- Universidad de Bogotá Jorge Tadeo Lozano
- Repositorio:
- Expeditio: repositorio UTadeo
- Idioma:
- eng
- OAI Identifier:
- oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/16090
- Palabra clave:
- Constructions of cultural identities
Newsreel cinema and television
Identidad colectiva
Identidad cultural
Medios de comunicación de masas
- Rights
- License
- Abierto (Texto Completo)
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dc.title.spa.fl_str_mv |
Constructions of cultural identities in newsreel cinema and television after 1945 |
title |
Constructions of cultural identities in newsreel cinema and television after 1945 |
spellingShingle |
Constructions of cultural identities in newsreel cinema and television after 1945 Constructions of cultural identities Newsreel cinema and television Identidad colectiva Identidad cultural Medios de comunicación de masas |
title_short |
Constructions of cultural identities in newsreel cinema and television after 1945 |
title_full |
Constructions of cultural identities in newsreel cinema and television after 1945 |
title_fullStr |
Constructions of cultural identities in newsreel cinema and television after 1945 |
title_full_unstemmed |
Constructions of cultural identities in newsreel cinema and television after 1945 |
title_sort |
Constructions of cultural identities in newsreel cinema and television after 1945 |
dc.subject.spa.fl_str_mv |
Constructions of cultural identities Newsreel cinema and television |
topic |
Constructions of cultural identities Newsreel cinema and television Identidad colectiva Identidad cultural Medios de comunicación de masas |
dc.subject.lemb.spa.fl_str_mv |
Identidad colectiva Identidad cultural Medios de comunicación de masas |
description |
Studies on Chinese early cinema and its extended history in the Republican period (1911–1949) have trod a rocky path.1 After the founding of the People’s Republic in 1949, film historiography developed into a guarded field, even until today. In the immediate postwar time the term “Republican” was tainted by its attachment to the defeated Nationalist Party and its associated autocratic capitalism, corrupt bureaucracy, and dependence on foreign imperialist powers. Because of these negative associations, the notion of Republican cinema became suspect and was subject to monitoring and constraint, in the 1950s and after. The formerly “infamous” epoch was acknowledged as pivotal to the development of Chinese modernity when the censorious treatment of the Republican period relaxed in the twentyfirst century. Subsequently, Republican history was reconstructed by many scholars as Shanghai history, given the city’s unrivaled position (so-called Paris of the Orient) in early twentieth-century China. “Shanghai cinema” was then upheld as a synecdoche for cinema of the entire era as the city was then the country’s center of film production, distribution, and exhibition. The term “Shanghai,” despite its mythology (qipao, jazz, dance halls, intrigues, department stores, hippodrome, canidrome, dandies, motor cars, Ruan Lingyu, sultry Mandarin pop), risks reducing the scope of Republican history into a “looking glass” containing the most alluring facets. “Shanghai cinema,” too, when used as the overarching Republican cinema or Chinese cinema before 1949, entails a limited, partial approach to the vast terrains of cinema practices in many parts of China and colonies like Hong Kong, Taiwan, Macao, and the Chinese diaspora generally. |
publishDate |
2018 |
dc.date.created.none.fl_str_mv |
2018 |
dc.date.accessioned.none.fl_str_mv |
2020-11-26T20:29:31Z |
dc.date.available.none.fl_str_mv |
2020-11-26T20:29:31Z |
dc.type.coar.spa.fl_str_mv |
http://purl.org/coar/resource_type/c_2f33 |
format |
http://purl.org/coar/resource_type/c_2f33 |
dc.identifier.isbn.none.fl_str_mv |
978-0-472-12344-5 |
dc.identifier.other.none.fl_str_mv |
https://www.jstor.org/stable/j.ctv1wxt68 |
dc.identifier.uri.none.fl_str_mv |
http://hdl.handle.net/20.500.12010/16090 |
dc.identifier.doi.none.fl_str_mv |
10.14361/9783839429754 |
identifier_str_mv |
978-0-472-12344-5 10.14361/9783839429754 |
url |
https://www.jstor.org/stable/j.ctv1wxt68 http://hdl.handle.net/20.500.12010/16090 |
dc.language.iso.spa.fl_str_mv |
eng |
language |
eng |
dc.rights.coar.fl_str_mv |
http://purl.org/coar/access_right/c_abf2 |
dc.rights.local.spa.fl_str_mv |
Abierto (Texto Completo) |
dc.rights.creativecommons.none.fl_str_mv |
https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode |
rights_invalid_str_mv |
Abierto (Texto Completo) https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode http://purl.org/coar/access_right/c_abf2 |
dc.format.extent.spa.fl_str_mv |
366 páginas |
dc.format.mimetype.spa.fl_str_mv |
application/pdf |
dc.publisher.spa.fl_str_mv |
University of Michigan Press |
institution |
Universidad de Bogotá Jorge Tadeo Lozano |
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spelling |
2020-11-26T20:29:31Z2020-11-26T20:29:31Z2018978-0-472-12344-5https://www.jstor.org/stable/j.ctv1wxt68http://hdl.handle.net/20.500.12010/1609010.14361/9783839429754Studies on Chinese early cinema and its extended history in the Republican period (1911–1949) have trod a rocky path.1 After the founding of the People’s Republic in 1949, film historiography developed into a guarded field, even until today. In the immediate postwar time the term “Republican” was tainted by its attachment to the defeated Nationalist Party and its associated autocratic capitalism, corrupt bureaucracy, and dependence on foreign imperialist powers. Because of these negative associations, the notion of Republican cinema became suspect and was subject to monitoring and constraint, in the 1950s and after. The formerly “infamous” epoch was acknowledged as pivotal to the development of Chinese modernity when the censorious treatment of the Republican period relaxed in the twentyfirst century. Subsequently, Republican history was reconstructed by many scholars as Shanghai history, given the city’s unrivaled position (so-called Paris of the Orient) in early twentieth-century China. “Shanghai cinema” was then upheld as a synecdoche for cinema of the entire era as the city was then the country’s center of film production, distribution, and exhibition. The term “Shanghai,” despite its mythology (qipao, jazz, dance halls, intrigues, department stores, hippodrome, canidrome, dandies, motor cars, Ruan Lingyu, sultry Mandarin pop), risks reducing the scope of Republican history into a “looking glass” containing the most alluring facets. “Shanghai cinema,” too, when used as the overarching Republican cinema or Chinese cinema before 1949, entails a limited, partial approach to the vast terrains of cinema practices in many parts of China and colonies like Hong Kong, Taiwan, Macao, and the Chinese diaspora generally.366 páginasapplication/pdfengUniversity of Michigan PressConstructions of cultural identitiesNewsreel cinema and televisionIdentidad colectivaIdentidad culturalMedios de comunicación de masasConstructions of cultural identities in newsreel cinema and television after 1945Abierto (Texto Completo)https://creativecommons.org/licenses/by-nc-nd/4.0/legalcodehttp://purl.org/coar/access_right/c_abf2http://purl.org/coar/resource_type/c_2f33Yueh-yu Yeh, EmilieORIGINAL645358.pdf645358.pdfVer libroapplication/pdf4905838https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16090/1/645358.pdf37f1b37722965cab4e055ca760409f0cMD51open accessLICENSElicense.txtlicense.txttext/plain; charset=utf-82938https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16090/2/license.txtabceeb1c943c50d3343516f9dbfc110fMD52open accessTHUMBNAIL645358.pdf.jpg645358.pdf.jpgIM Thumbnailimage/jpeg7185https://expeditiorepositorio.utadeo.edu.co/bitstream/20.500.12010/16090/3/645358.pdf.jpga386fde325aaddc5aed78a1568f7c177MD53open access20.500.12010/16090oai:expeditiorepositorio.utadeo.edu.co:20.500.12010/160902021-02-23 21:50:44.242open accessRepositorio Institucional - Universidad Jorge Tadeo Lozanoexpeditio@utadeo.edu.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 |