[Reading Response] Leo Ou-Fan Lee

Lee’s article explores the rise of 1930s Shanghai’s cinema, film culture and notion of “femininity”, as a result of integration with Western film approaches from Hollywood. I believe 1930s Chinese film and its surrounding culture can be characterised by the concepts of “modernity” and “hybridity”. 

The 1930s saw a period of modernisation in Shanghai, with the introduction of foreign-styled movie theatres, and film serving as a commodity prompting new entertainment lifestyles. Written literature and print culture influenced by the West emerged, helping the development of film and the creation of an urban lifestyle of modernity. Movie magazines like Liangyou appeared, which constructed the “modern lady” aesthetics and lifestyle and  influenced young women to imitate.

However, Li remarks that although commodification and consumerism began to grow in Shanghai (partly due to film), it did not “entirely replicate the American culture of high capitalism”. Shanghai developed its own aesthetic and special characteristics, reflected through “fashionable femininity”. Famous women Chinese stars often wore elegant Chinese long gowns, with only their arms exposed – as their outfits often alluded to traditional fairy tales, myths and folklore. This heavily contrasts with Hollywood stars who are sexually objectified, with a half-revealed torso and exposed legs. Thus, Shanghai’s cinema takes influence from the West, but maintains its deeply rooted social and cultural constructs in the idea of femininity. 

1930s Shanghai’s cinema is one of hybridity, with China taking influence from the West and its past traditions, ultimately forming an urban cinematic culture distinctive, unique and of its character.

CHAN, Hiu To Max, 3036137134