| dc.identifier.uri | http://hdl.handle.net/11401/77212 | |
| dc.description.sponsorship | This work is sponsored by the Stony Brook University Graduate School in compliance with the requirements for completion of degree. | en_US |
| dc.format | Monograph | |
| dc.format.medium | Electronic Resource | en_US |
| dc.language.iso | en_US | |
| dc.publisher | The Graduate School, Stony Brook University: Stony Brook, NY. | |
| dc.type | Dissertation | |
| dcterms.abstract | Gone with the Wind (1939), a Hollywood prestige picture, was translated into Chinese as A Beauty at a Turbulent Time in 1946 and became a box-office hit at Shanghai. Its startling success, however, was soon overwhelmed in every aspect by a domestic film, The Spring River Flows East. This second blockbuster indicates the revitalization of Chinese cinemas in terms of aesthetics, genre, and industry in the aftermath of the Japanese occupation. Nevertheless, the translated title A Beauty at a Turbulent Time subliminally manifested the worries and dreams of China in a chaotic period. In this dissertation I examine postwar Chinese films, and situate them within the larger socio-political context of the civil war and Communist takeover, the runaway inflation, and the cultural disintegration. Current scholarship divides Chinese cinemas into mainland China, Hong Kong, and Taiwan. I argue this taxonomy formalizes in the transitional late 1940s when Shanghai, Hong Kong, Manchuria and Taiwan cinema paradoxically enjoyed industrial consolidation and aesthetic sophistication against all odds. Departing from the seminal works on Chinese cinemas in the 1930s and wartime, this project is the first scholarly endeavor on " the postwar golden age" on which no English monograph exists. It takes a locale-specific and regionally-connected approach to map out the individual cinema of Greater China on its own merit and their interconnectedness. I also address its " transnational encounter" with Japanese remnants, Hollywood stardom, and Soviet's formula films. Examining the intersecting discourses of modernity, nationality and industry in four chapters on Shanghai, Hong Kong, Manchuria and Taiwan cinema respectively, this project evokes an archeological and archival approach to cinematic artifacts rather than simply reading movies politically or generically. It expands upon the scholarly attention from the silent era through the 1930s to this unexplored transitional era. Meanwhile, my work shifts academic interest from " Chinese-language cinemas" to locale-specific yet globally-connected traditions. Finally, the project addresses Cold War politics manifested in Chinese cinemas. | |
| dcterms.available | 2017-09-20T16:52:12Z | |
| dcterms.contributor | Gabbard, Krin | en_US |
| dcterms.contributor | Reich, Jacqueline | en_US |
| dcterms.contributor | Man-Cheong, Iona | en_US |
| dcterms.contributor | Tan, E.K. | en_US |
| dcterms.contributor | Chi, Robert. | en_US |
| dcterms.creator | Ma, Lunpeng | |
| dcterms.dateAccepted | 2017-09-20T16:52:12Z | |
| dcterms.dateSubmitted | 2017-09-20T16:52:12Z | |
| dcterms.description | Department of Comparative Literary and Cultural Studies. | en_US |
| dcterms.extent | 291 pg. | en_US |
| dcterms.format | Application/PDF | en_US |
| dcterms.format | Monograph | |
| dcterms.identifier | http://hdl.handle.net/11401/77212 | |
| dcterms.issued | 2015-08-01 | |
| dcterms.language | en_US | |
| dcterms.provenance | Made available in DSpace on 2017-09-20T16:52:12Z (GMT). No. of bitstreams: 1
Ma_grad.sunysb_0771E_11579.pdf: 7862019 bytes, checksum: 0ea8104c4f92b0b54d8c01e480760aa7 (MD5)
Previous issue date: 2013 | en |
| dcterms.publisher | The Graduate School, Stony Brook University: Stony Brook, NY. | |
| dcterms.subject | Advantageously Adverse, Chinese Cinemas, modernity, nationality and industry, Postwar | |
| dcterms.subject | Comparative literature | |
| dcterms.title | Advantageously Adverse: Chinese Cinemas in Transition, 1945-1951 | |
| dcterms.type | Dissertation | |
