<i>Arming the Chinese: The Western Armaments Trade in Warlord China, 1920-1928</i>, by Anthony B. Chan

Chen, Minsun

doi:10.3138/cjh.19.1.149

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“…The embargo was imposed on China by Western powers, with Portugal also a signatory, during the Warlord era in order to end the Civil War and ‘facilitate the formation of a unified national government in China […] under pro-Western leadership’ (Valone 1991, xviii–xix). All powers, however, infringed upon the agreement (Chan 2010, 133), and smuggling through treaty ports, Hong Kong, and Macau was rife (Chan 2010, 105). Furthermore, as Chan (2010, 136) has pointed out, the beginning of the ‘Nationalist government […] did not mean the end […] to the Western armaments trade’.…”

Section: Long Way As a Response To Western Films I: Cleansing Macau's Imagementioning

confidence: 99%

“…All powers, however, infringed upon the agreement (Chan 2010, 133), and smuggling through treaty ports, Hong Kong, and Macau was rife (Chan 2010, 105). Furthermore, as Chan (2010, 136) has pointed out, the beginning of the ‘Nationalist government […] did not mean the end […] to the Western armaments trade’.…”

Section: Long Way As a Response To Western Films I: Cleansing Macau's Imagementioning

confidence: 99%

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Cleansing Macau's Image as the ‘Wickedest City in the World’: Eurasia,Long Way, and Luso-tropical film production in Macau in the 1950s

Leite¹

2021

Mod. Asian Stud.

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This article discusses the Eurasia Film Company (hereafter Eurasia), which was established in Macau in 1954; the making of its film Long Way, released in 1955; and more generally the issue of film production in Macau in the 1950s. This was a period of crisis for Portugal: despite the beginning of decolonization in the post-war era, the regime's policy was to preserve the colonies. It appropriated ‘Luso-tropicalism’, a theory developed by Brazilian sociologist Gilberto Freyre, which argued that the Portuguese had created a harmonious hybrid civilization in the ‘tropics’ through biological and cultural miscegenation. Luso-tropicalism became a major propaganda tool used by Portugal to deflect decolonization. Eurasia, which had links to the colonial government, presented a Luso-tropical ideal not only in terms of the content of the film Long Way which celebrated interracial love but also by its very nature—it was a Sino-Portuguese enterprise that also had Eurasians as shareholders—and in its production method. Its main objective was to propagate a positive image of Macau, in response to its pervasive negative portrayal in the international press and films, which often characterized it as a centre of vice. Long Way specifically responded to Hollywood and French films set in Macau by using similar elements, plot, and characterization, but it transformed Orientalist tales of crime, smuggling, and sin into a Luso-tropical story of refuge, order, and interracial love. Eurasia aimed to cleanse Macau's image and thereby justify Portuguese sovereignty in the territory in a period of crisis and uncertainty marked by decolonization, the Cold War, and tense Sino-Portuguese relations.

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Section: Long Way As a Response To Western Films I: Cleansing Macau's Imagementioning

confidence: 99%

Section: Long Way As a Response To Western Films I: Cleansing Macau's Imagementioning

confidence: 99%

Cleansing Macau's Image as the ‘Wickedest City in the World’: Eurasia,Long Way, and Luso-tropical film production in Macau in the 1950s

Leite¹

2021

Mod. Asian Stud.

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Arming the Chinese: The Western Armaments Trade in Warlord China, 1920-1928, by Anthony B. Chan

Cited by 1 publication

References 0 publications

Cleansing Macau's Image as the ‘Wickedest City in the World’: Eurasia,Long Way, and Luso-tropical film production in Macau in the 1950s

Cleansing Macau's Image as the ‘Wickedest City in the World’: Eurasia,Long Way, and Luso-tropical film production in Macau in the 1950s

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