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• W283117305 abstract "In the post-colonial era, films have often been treated by scholars on both sides of the Pacific as a form of cultural invasion; and the Chinese Other, the reluctant victim of this invasion. My discursive review of the interaction between and China is intended not to negate the invasion-and-resistance theory in general but to refute the generalization of the Otherness in the Chinese context. In China, there has never been a uniform opinion of Hollywood, because there has never been a single, faceless entity of the Chinese Other. In China, authorities' opinions, art elites' opinions, filmmakers' opinions, cineastes' opinions, and masses' opinions have always differed, sometimes polarized, from one another. Two perspectives, to treat as a political entity and to treat it as a provider of entertainment, have been the major demarcation of the differences. In this essay, the term, Hollywood is used to distinguish commercial ventures from auteur films, independent films, or under ground films made in the United States, and is referred to the average cinema-goers who view films, not just films, as sheer means of entertainment. Historically, the relationship between and China can be divided into five phases. The first phase (1895-1927) covers the Classical period, particularly the silent era. The second phase (1927-1949) starts with Hollywood's Golden Years and ends shortly after the establishment of the People's Republic of China. The third phase (1949-1979) embraces the thirty years of Maoist control, when was banned in China. The fourth phase (1979-1989) begins with the reintroduction of to China and ends with the Tiananmen Square Incident. The last phase (1989-present) is the Post Deng Era, from Tiananmen to the present. I. THE INSPIRATION Introducing Films to China: 1895-1927 China was among the few countries exposed to cinematic culture at a very early stage. A year after he invented cinematography in France, Louis Lumiere sent his cameraman to Shanghai to show some shots (it was not yet a film in the modern sense) of magic and acrobatic performances. The historical date was August 11, 1896. Another year had barely passed, when James Rication, an from Maplewood, NJ, arrived in China to exhibit some episodes shot in America. In those early episodes, the principle of had already emerged: to entertain with novelty and sensuality. In 1897, the first film review in Chinese history was published in Shanghai. It refers to Rication's show as an American light and the word is typically Daoist: light play ... magical and illusionary, all beyond imagination. ... Two fluffy-haired blondes dance in a charmingly naive manner ... Two Westerners wrestle. ... Two Russian princesses dance to music ... A woman bathing ... Bothered by a bedbug, a guy tries to catch it ... A magician covers a female with a blanket. When he lifts the blanket, she has disappeared. ... All these tricks cannot be comprehended. ... The strangest scene is a bicycle race ... I then heave a deep sigh: thousands of changes between heaven and earth ... are similar to what we see in the play. ... Life is nothing but of bubbles. (1) Dianying (electrical shadow), the Chinese term for film, is perhaps derived from the above review. The first Chinese to enter this growing electrical shadow business was Lin Chu-shan, who in 1903 brought back from America a projector and rented a teahouse in Beijing's theater district to show some episodes shot in the U.S. So, the first film shown by a Chinese to a Chinese audience was American. At that time, this film was not accessible in most parts of the US, which in 1905 had only ten cinemas nationwide. Contrary to what many people would assume, the court of the Qing dynasty was not against this dazzling innovation from the West. …" @default.
• W283117305 created "2016-06-24" @default.
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• W283117305 date "2003-01-01" @default.
• W283117305 modified "2023-09-24" @default.
• W283117305 title "Hollywood and the Chinese Other" @default.
• W283117305 hasPublicationYear "2003" @default.
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