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...

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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
Acceso en línea:
https://www.jstor.org/stable/j.ctv1wxt68
http://hdl.handle.net/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
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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)
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rights_invalid_str_mv Abierto (Texto Completo)
https://creativecommons.org/licenses/by-nc-nd/4.0/legalcode
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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; 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