Huang Xuelei, Ph.D. (2009), University of Heidelberg, is Chancellor’s Research Fellow in Chinese Studies at the University of Edinburgh. She has published on Chinese cinema, print culture and the social history of modern China.
All interested in modern Chinese cinema, drama, literature, and cultural history.
“Huang Xuelei invites readers to go on a delightful tour that will familiarize them with the unforgettable personalities and practices responsible for the remarkable Mingxing story. When this special tour is over, readers will know much more about the complex origins of Chinese filmmaking and how these origins help us better understand the complicated world of Chinese filmmaking today.”
Paul G. Pickowicz, University of California, San Diego
"[Huang]'s interdisciplinary approach ultimately adds richness to our understanding of Mingxing, and the historiographical method of multiple strands provides us with a comprehensive and palimpsestic picture. [Huang] argues that melodrama is the social form and the narrative mode favored by all, thereby explaining its dominance in Mingxing production. [Huang], like some scholars of Chinese cinema, has traced the cross-cultural influence of melodrama in, for instance, transnational remakes or adaptation while noting the multiplicity of genres produced by Mingxing."
Xiangyang Cindy Chen, independent scholar, China Review International, Vol. 21, No. 1, 2014.
Table of contents
Figures, Charts, and Tables
Conventions and Abbreviations
Paul G. Pickowicz
INTRODUCTION: Shanghai Filmmaking: Border-crossing Practices
PART I PRODUCTION
1. The Business
2. Players in the 1920s: Interconnecting, Mediating
3. Players in the 1930s: Contestation? Collaboration?
PART II PRODUCT
4. The Medium: Inside Glocal Mediascapes
5. The Narrative (I): Melodrama as a Social Form
6. The Narrative (II): Melodramas Fit for All
7. The Meaning: Toward a Sentimental Education
EPILOGUE: Toward a Glocal Viewing Public
Appendix I: Filmography
Appendix II: Mingxing Personnel