Leo Ou-fan Lee depict the urban environment of Shanghai of the 1930s. He supposed early Chinese films came out in this milieu due to increasing in the demand for leisure and entertainment. What make me most interested in is that the relationship between American cultural and cinematic industry in Shanghai. In 1930s, as a new highlight of Shanghai’s architectural landscape, cinemas began to play many hollywood films. At the same time, China has created many movies based on American movies. Therefore, lots of films and magazines with ‘modern female’ images have been constructed, which shaped women’s self-perception. Also, Chinese film companies tookover up top-tier theaters or forming theater chains when they find that Chinese movies are being shown in second-rate theaters while Hollywood premieres are being shown in luxury theaters. In addition, Shanghai borrows from Hollywood movies while rataining its own culture, which I think is a vitual factor for ‘hybridity’ mentioned in the second reading (Zhang Zhen). In 19th century, ‘foregin shadowplay’ and indigenous popular performances show coexist in a popular entertainment venue. As the most popular place, teahouse, men and women usually gather here for entertainment and to watch shows. This is portrayed as a space of female freedom and a hotbed of sexual desire. Chinese kept its own traditions and culture, such as shadowplays, while learning and imitating Western film making into ‘hybridity’ with montage and long shots in the 1930s.
GAO YUTING
3036102036
You have summarized the two readings in a comprehensive manner and pointed out main ideas of hybridity, how Hollywood influenced early Chinese cinema, and the features of the medium. Adding some personal thoughts and reflection will help provide more insightful ideas.