Shanghai da xiyuan: jiechu didai de kongjian shijian 上海大戏院：接触地带的空间实践（1917-1937）

Xuelei Huang; Binwu Jia; Peiyao Ji

Shanghai da xiyuan: jiechu didai de kongjian shijian 上海大戏院：接触地带的空间实践（1917-1937）

Translated title of the contribution: The Isis Theater in Shanghai: Spatial practice in the Contact Zone, 1917-1937

Xuelei Huang, Binwu Jia, Peiyao Ji

School of Literatures, Languages and Cultures

Research output: Contribution to journal › Article

Abstract

Drawing upon the concept of contact zone, this essay begins with an analysis of the geographical location of the Isis, a nearly no man’s land over which neither of the foreign and Chinese authorities could exercise full administrative control. The following sections examine two cases, the screenings of the Hollywood film The Thief of Bagdad, which contains derogatory descriptions of the Chinese, and the exhibition of Soviet films, most of which were forbidden in the foreign concessions. These cases illustrate how the Isis worked as a contact zone and engaged with the competing discourses of colonialism vs. nationalism and bourgeois capitalism vs. socialist ideology.

Translated title of the contribution	The Isis Theater in Shanghai: Spatial practice in the Contact Zone, 1917-1937
Original language	Chinese (Simplified)
Pages (from-to)	122-129
Journal	Film Art 电影艺术
Volume	2021
Issue number	5
Publication status	Published - 4 Nov 2021

Keywords

Isis
contact zone
spatiality
history of movie theatre
Shanghai theatre

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https://caod.oriprobe.com/articles/61820354/shang_hai_da_xi_yuan__jie_chu_di_dai_de_kong_jian_.htm

Cite this

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title = "Shanghai da xiyuan: jiechu didai de kongjian shijian 上海大戏院：接触地带的空间实践（1917-1937）",

abstract = "Drawing upon the concept of contact zone, this essay begins with an analysis of the geographical location of the Isis, a nearly no man{\textquoteright}s land over which neither of the foreign and Chinese authorities could exercise full administrative control. The following sections examine two cases, the screenings of the Hollywood film The Thief of Bagdad, which contains derogatory descriptions of the Chinese, and the exhibition of Soviet films, most of which were forbidden in the foreign concessions. These cases illustrate how the Isis worked as a contact zone and engaged with the competing discourses of colonialism vs. nationalism and bourgeois capitalism vs. socialist ideology. ",

keywords = "Isis, contact zone, spatiality, history of movie theatre, Shanghai theatre",

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note = "This is the Chinese translation of my article “Through the Looking Glass of Spatiality: Spatial Practice, Contact Relation and the Isis Theater in Shanghai, 1917–1937”, Modern Chinese Literature and Culture, vol. 23, no. 2 (Fall 2011): 1–33.",

year = "2021",

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day = "4",

language = "Chinese (Simplified)",

volume = "2021",

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journal = "Film Art 电影艺术",

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AU - Huang, Xuelei

AU - Jia, Binwu

AU - Ji, Peiyao

N1 - This is the Chinese translation of my article “Through the Looking Glass of Spatiality: Spatial Practice, Contact Relation and the Isis Theater in Shanghai, 1917–1937”, Modern Chinese Literature and Culture, vol. 23, no. 2 (Fall 2011): 1–33.

PY - 2021/11/4

Y1 - 2021/11/4

N2 - Drawing upon the concept of contact zone, this essay begins with an analysis of the geographical location of the Isis, a nearly no man’s land over which neither of the foreign and Chinese authorities could exercise full administrative control. The following sections examine two cases, the screenings of the Hollywood film The Thief of Bagdad, which contains derogatory descriptions of the Chinese, and the exhibition of Soviet films, most of which were forbidden in the foreign concessions. These cases illustrate how the Isis worked as a contact zone and engaged with the competing discourses of colonialism vs. nationalism and bourgeois capitalism vs. socialist ideology.

AB - Drawing upon the concept of contact zone, this essay begins with an analysis of the geographical location of the Isis, a nearly no man’s land over which neither of the foreign and Chinese authorities could exercise full administrative control. The following sections examine two cases, the screenings of the Hollywood film The Thief of Bagdad, which contains derogatory descriptions of the Chinese, and the exhibition of Soviet films, most of which were forbidden in the foreign concessions. These cases illustrate how the Isis worked as a contact zone and engaged with the competing discourses of colonialism vs. nationalism and bourgeois capitalism vs. socialist ideology.

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KW - contact zone

KW - spatiality

KW - history of movie theatre

KW - Shanghai theatre

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M3 - Article

VL - 2021

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JO - Film Art 电影艺术

JF - Film Art 电影艺术

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ER -

Shanghai da xiyuan: jiechu didai de kongjian shijian 上海大戏院：接触地带的空间实践（1917-1937）

Abstract

Keywords

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Through the Looking Glass of Spatiality: Spatial Practice, Contact Relation and the Isis Theater in Shanghai, 1917-1937

Cite this