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| ==Production== | ==Production== | ||
| ''An Amorous History of the Silver Screen'' was directed by ] for the ]. Cinematography was handled by Dong Keyi,<!--董克毅-->{{sfn|Huang|2014|p=312}} while the ]s were provided by | |||
| ⚫ | Elements of the film were biographic; as with Wang Fengzhen, Xuan had been a courtesan before being discovered by Mingxing co-founder ], with her contract bought out by the studio. After portraying a wide range of roles, she had entered a cohabitational relationship with a local entrepreneur, leaving it in 1930.{{sfn|Zhang|2005|pp=xxiii}} | ||
| ⚫ | ] took the starring role of Wang Fengzhen in ''An Amorous History of the Silver Screen''.{{sfn|Huang|2014|p=312}} Elements of the film were biographic; as with Wang Fengzhen, Xuan had been a courtesan before being discovered by Mingxing co-founder ], with her contract bought out by the studio. After portraying a wide range of roles, she had entered a cohabitational relationship with a local entrepreneur, leaving it in 1930.{{sfn|Zhang|2005|pp=xxiii}} The dancing girl was played by Xia Peizhen.{{sfn|Zhang|2005|pp=xxi}} Other roles were taken by Tan Zhiyuan, ], Xiao Ying, and ].{{sfn|Huang|2014|p=312}} | ||
| Mingxing served as the set for the studio tour, showcasing itself as a "magic workshop of virtual reality" that used modern lighting, extravagant set-pieces and innovative special effects.{{sfn|Zhang|2005|pp=xxiii}} These elements are intertwined with other signifiers of modernity, including ] and ], as well as diverse elements of film culture such as fandom and stardom.{{sfn|Zhang|2005|pp=xxv}} | Mingxing served as the set for the studio tour, showcasing itself as a "magic workshop of virtual reality" that used modern lighting, extravagant set-pieces and innovative special effects.{{sfn|Zhang|2005|pp=xxiii}} These elements are intertwined with other signifiers of modernity, including ] and ], as well as diverse elements of film culture such as fandom and stardom.{{sfn|Zhang|2005|pp=xxv}} | ||
| ==Release and reception== | ==Release and reception== | ||
| One viewer from ], having seen the film at a local ], wrote to Mingxing and thanked the company for the ] look at its production processes, from the creation of weather effects to the practice of ]s.{{sfn|Zhang|2005|pp=xxvii}} | ''An Amorous History of the Silver Screen'' premièred at the Palace Theatre in Shanghai on 17 February 1931.{{sfn|Huang|2014|p=312}} One viewer from ], having seen the film at a local ], wrote to Mingxing and thanked the company for the ] look at its production processes, from the creation of weather effects to the practice of ]s.{{sfn|Zhang|2005|pp=xxvii}} | ||
| ''An Amorous History of the Silver Screen'' is partially ]. The first part of the film, which details the rise of Shanghai cinema as well as the blossoming of Wang Fengzhen's romance, is not known to have survived. The second part of the film, which covers Wang's decision to regain her stardom and her independence, has survived at the ].{{sfn|Zhang|2005|pp=xix-xxii}} | ''An Amorous History of the Silver Screen'' is partially ]. The first part of the film, which details the rise of Shanghai cinema as well as the blossoming of Wang Fengzhen's romance, is not known to have survived. The second part of the film, which covers Wang's decision to regain her stardom and her independence, has survived at the ].{{sfn|Zhang|2005|pp=xix-xxii}} The full film was eighteen reels in length.{{sfn|Huang|2014|p=312}} | ||
| Scholarship on early Chinese cinema has generally ignored ''An Amorous History of the Silver Screen''.{{sfn|Zhang|2005|p=xiv}} In an analysis, the film historian Zhang Zhen describes the film as providing a "self-conscious gesture at 'writing' film history" that created attraction through its blending of romance and promotion.{{sfn|Zhang|2005|pp=xxii}} | Scholarship on early Chinese cinema has generally ignored ''An Amorous History of the Silver Screen''.{{sfn|Zhang|2005|p=xiv}} In an analysis, the film historian Zhang Zhen describes the film as providing a "self-conscious gesture at 'writing' film history" that created attraction through its blending of romance and promotion.{{sfn|Zhang|2005|pp=xxii}} | ||
| Line 27: | Line 29: | ||
| ==Works cited== | ==Works cited== | ||
| {{refbegin|40em}} | {{refbegin|40em}} | ||
| *{{cite book | |||
| |title=Shanghai Filmmaking: Crossing Borders, Connecting to the Globe, 1922–1938 | |||
| |last=Huang | |||
| |first=Xuelei | |||
| |publisher=Brill | |||
| |location=Leiden | |||
| |isbn=978-90-04-27933-9 | |||
| |year=2014 | |||
| |url=https://books.google.com/books?id=UW8woAEACAAJ | |||
| |doi=10.1163/9789004279346 | |||
| |series=China Studies | |||
| |volume=29 | |||
| }} | |||
| *{{cite book | *{{cite book | ||
| |title=An Amorous History of the Silver Screen: Shanghai Cinema, 1896-1937 | |title=An Amorous History of the Silver Screen: Shanghai Cinema, 1896-1937 | ||
Revision as of 20:46, 9 December 2024
An Amorous History of the Silver Screen (simplified Chinese: 银幕艳史; traditional Chinese: 銀幕艷史; pinyin: Yínmù Yànshǐ) is a 1931 film directed by Cheng Bugao for the Mingxing Film Company.
Plot
After becoming a treaty port, the city of Shanghai develops into a modern and cosmopolitan city of skyscrapers and paved streets. A thriving film industry emerges, as does a large pleasure quarters.
The courtesan Wang Fengzhen is slapped by a client after arriving late, and he mocks her tears by telling her she could be the next Lillian Gish. She decides to enrol with a major film company and soon gains recognition for her talent and range. She gains the attentions of the wealthy Fang Shaomei, who showers her with gifts and distracts her from her career. The two decide to cohabitate, but Wang begins to lose her prominent place in cinema.
Over time, Fang becomes increasingly indifferent, finding pleasure in the attentions of a dancing girl. Wang follows her paramor to a hotel and confronts him; when he is unrepentant, she swears to take control of her life and live independently through movie stardom.
Returning to the studio, Wang is warmly received. During a tour she is exposed to the updated studio, where several films – including The Burning of the Red Lotus Temple and Shadow of Red Tears – are being shot. Wang rises to stardom, again gaining the attentions of Fang. The dancing girl, seeing the power of fame, auditions for a role in a new film.
Production
An Amorous History of the Silver Screen was directed by Cheng Bugao for the Mingxing Film Company. Cinematography was handled by Dong Keyi, while the intertitles were provided by
Xuan Jinglin took the starring role of Wang Fengzhen in An Amorous History of the Silver Screen. Elements of the film were biographic; as with Wang Fengzhen, Xuan had been a courtesan before being discovered by Mingxing co-founder Zhang Shichuan, with her contract bought out by the studio. After portraying a wide range of roles, she had entered a cohabitational relationship with a local entrepreneur, leaving it in 1930. The dancing girl was played by Xia Peizhen. Other roles were taken by Tan Zhiyuan, Wang Zhengxin, Xiao Ying, and Liang Saizhen.
Mingxing served as the set for the studio tour, showcasing itself as a "magic workshop of virtual reality" that used modern lighting, extravagant set-pieces and innovative special effects. These elements are intertwined with other signifiers of modernity, including ballroom dancing and window shopping, as well as diverse elements of film culture such as fandom and stardom.
Release and reception
An Amorous History of the Silver Screen premièred at the Palace Theatre in Shanghai on 17 February 1931. One viewer from Jilin, having seen the film at a local YMCA, wrote to Mingxing and thanked the company for the behind-the-scenes look at its production processes, from the creation of weather effects to the practice of martial arts.
An Amorous History of the Silver Screen is partially lost. The first part of the film, which details the rise of Shanghai cinema as well as the blossoming of Wang Fengzhen's romance, is not known to have survived. The second part of the film, which covers Wang's decision to regain her stardom and her independence, has survived at the China Film Archive. The full film was eighteen reels in length.
Scholarship on early Chinese cinema has generally ignored An Amorous History of the Silver Screen. In an analysis, the film historian Zhang Zhen describes the film as providing a "self-conscious gesture at 'writing' film history" that created attraction through its blending of romance and promotion.
References
- Summary based on Zhang (2005, pp. xix–xxii)
- ^ Huang 2014, p. 312.
- ^ Zhang 2005, pp. xxiii.
- Zhang 2005, pp. xxi.
- Zhang 2005, pp. xxv.
- Zhang 2005, pp. xxvii.
- Zhang 2005, pp. xix–xxii.
- Zhang 2005, p. xiv.
- Zhang 2005, pp. xxii.
Works cited
- Huang, Xuelei (2014). Shanghai Filmmaking: Crossing Borders, Connecting to the Globe, 1922–1938. China Studies. Vol. 29. Leiden: Brill. doi:10.1163/9789004279346. ISBN 978-90-04-27933-9.
- Zhang, Zhen (2005). An Amorous History of the Silver Screen: Shanghai Cinema, 1896-1937. Chicago: University of Chicago Press. ISBN 978-0-226-98238-0.