@article{eb443208627c4349978644b564ea5d36,
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",
author = "Xuelei Huang and Binwu Jia and Peiyao Ji",
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",
month = nov,
day = "4",
language = "Chinese (Simplified)",
volume = "2021",
pages = "122--129",
journal = "Film Art 电影艺术",
issn = "0257-0181",
publisher = "Cinematic Arts Editor",
number = "5",
}