In search of a ‘cinematic Esperanto’: exhibiting wartime Chongqing cinema in global context

Bao, Weihong

doi:10.1386/jcc.3.2.135_1

Cited by 6 publications

(3 citation statements)

References 6 publications

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“…Single Parameter Analysis. Parameter analysis is a method of analyzing the characteristics of material damage through recording and analyzing acoustic emission signals' characteristic parameters, such as amplitude, duration, energy, count and so on [5]. This paper mainly analyzed the amplitude.…”

Section: Resultsmentioning

confidence: 99%

Acoustic Emission Signals Characteristics of Q345R at Tensile Progress in the Normal and Low Temperatures

Long

Wang

Song

et al. 2013

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Section: Resultsmentioning

confidence: 99%

Acoustic Emission Signals Characteristics of Q345R at Tensile Progress in the Normal and Low Temperatures

Long

Wang

Song

et al. 2013

AMR

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“…This was manifested in a plethora of areas, including its diplomatic, social, and intellectual experiences (e.g. Chang & Zhou, 2017), as well as in the realm of film criticism and exhibition (Bao, 2009). Other works centre on rural areas, including a major famine in Henan province generated by a flood caused by the Nationalists' decision to break the Yellow River dikes to stall the invading Japanese forces (Muscolino, 2015).…”

Section: Introductionmentioning

confidence: 99%

Foreign Friends and Problematic Heroes: Remembering a Global World War Two in Early Twenty-first Century Chinese Cinema

Lopes

2020

Journal of War & Culture Studies

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Engaging with the growing scholarship on China's War with Japan (1937Japan ( -1945 as part of a global World War Two, this article queries how the internationalization of China's War of Resistance has been (re)constructed in popular fiction films since the 2000s. It analyses representations of Sino-foreign interactions in China's mainstream onscreen memorialization of the war and how these productions have sought global recognition. It argues that, despite not always appreciated by foreign audiences and critics, depictions of China's war effort have been imbued with a considerable degree of ambiguity, comprising praise for forms of transnational solidarity and a growing assertion of China's role in a conflict of global significance. The article also explores the role of war cinema in projecting Chinese nationalism to domestic and international audiences and reflects on recent films whose exhibition problems signal changing constraints on what can be shown as heroic representations of China at war.

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“…In the past few years, new scholarship on the Republican cinema has emerged one after another. The studies on Nationalist censorship by Xiao Ziwei (2013a, 2013b) and Wang Chaoguang (2001, Chen Jianhua's focus on the cross-fertilization between MDBS and film (Chen 2009), and the writing on the so-called Chongqing film (Yan and Xiong 2009;Bao 2009Bao , 2014 are valuable additions to the otherwise dormant phase of Chinese cinema. The purpose of this special issue is to echo these previous works by looking for new research, with a hope to resuscitate the cinematic multiplicities buried alongside the departed Republican ethos.…”

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confidence: 99%

New takes on film historiography. Republican cinema redux, an introduction

Yeh

2015

Journal of Chinese Cinemas

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Take One: 1905. A newsreel on the Russo-Japanese War was screened in Hong Kong consecutively for over six weeks, from June 21 to August 5, at a temporary outdoor space near the Central market (Chinese Mail 1905). Organized by a Japanese distribution company, this documentary short was quite possibly the longest running film show in the decade. Take Two: June 6 to December 4, 1917. YMCA in Tianjin held regular film screenings on Wednesday and Saturday night, eight o'clock (Social Welfare Tientsin 1917). Newsreels, scenes from Tibet, and features ranging from comedy to detective were screened. Most of these films were from the United States. Take Three: 1929, October. Education Bureau of Guangzhou maintained its censorship ruling against the screening of King of Kings (1927) at the local YMCA, despite YMCA's repeated appeals. The reason quoted for the prohibition was religious superstition (Guangzhou Mingguo Ribao 1929). These three takes or snapshots indicate distinct historical moments in Chinese film history and further, show the vagaries of movie exhibition during the Republican era. Movies during this time were international, sensitive to outside circumstances, and occasionally controversial.

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In search of a ‘cinematic Esperanto’: exhibiting wartime Chongqing cinema in global context

Cited by 6 publications

References 6 publications

Acoustic Emission Signals Characteristics of Q345R at Tensile Progress in the Normal and Low Temperatures

Acoustic Emission Signals Characteristics of Q345R at Tensile Progress in the Normal and Low Temperatures

Foreign Friends and Problematic Heroes: Remembering a Global World War Two in Early Twenty-first Century Chinese Cinema

New takes on film historiography. Republican cinema redux, an introduction

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