Lee stated that studies of modern Chinese cinema in American academia have been concerned due to the lack of exploration in the cultural context of Chinese films. It had led to the phenomenon where Chinese films were often shown in second-run houses of lesser grandeur.
Although Hollywood movies inspired Chinese filmmakers at first, Chinese movies eventually emerged through consumerism and commodification in Shanghai. According to Lee, one significant difference between Hollywood and Shanghai at that time was “fashionable femininity”, which was conveyed in Chinese magazines, thus creating unique aesthetic of the feminine by comparing to the “rampant body fetishism” in the photos of Hollywood stars.
In the actual Chinese movies, female figures also play rather important roles then those in Hollywood movies. The unique Chinese culture allowed their movies to focus more on the plot, rather than males in action. Film figures tend to show more character development and complexity throughout the stories. They eventually came up with the techniques of “montage” and the “long take”.
Bluntly stated, Lee thinks that filmmaking did contribute to the construction of the Chinese modernity, while there are more to discover in the early Chinese film culture.
Ho Yin, Lam 3036108391
I appreciate your comprehensive analysis of Lee’s essay in terms of China-Hollywood comparison and fashionable femininity. However, I would like to hear more of your reflections/concerns on this, which can be demonstrated by particular film case(s) or your personal experience(s). Furthermore, please reflect on the following questions: 1) In the evolution of the Chinese cinematic industry, what has stayed and what has gone? 2) How did female figure(s) help to demonstrate Chinese modern cities, especially Shanghai?