Commercializing Ideologies : Intellectuals and Cultural Production at the Mingxing (Star) Motion Picture Company, 1922 - 1938

Xuelei Huang
2010
For my parents, sister and 3-year-old niece CONTENTS Figures and Charts ii Conventions and Abbreviations ii Acknowledgements iv 2. Film titles are given in pinyin, Chinese characters and English translations, together with dates of production in parentheses, when they first appear. Afterwards, only pinyin and dates of production are given. A filmography which contains all the films Mingxing produced is provided in Appendix I. 3. For secondary source materials I cite in this study, only author,
more » ... itle and page numbers are given in notes (if in Chinese, only pinyin is given). For primary source materialsmainly journal articles in Chinese, I give full citations (both in pinyin and Chinese characters), because sources and dates of publication provide significant information for this historical study. English translations for Chinese sources are only given in "Bibliography" and "Lists of Primary Source Materials" appended. 4. The following abbreviations are used in the notes: DS Diansheng 電聲 MB Mingxing banyuekan 明星半月刊 MT Mingxing tekan 明星特刊 MY Mingxing yuebao 明星月報 MXNB Fan Yanqiao. "Mingxing yingpian gongsi nianbiao 明星影片公司年表" SB Shenbao 申報 SMA Shanghai Municipal Archive (Shanghai dang'an guan 上海檔案館) ii iii XWB Xinwenbao 新聞報 YHWZ Rui Heshi, et al., eds. Yuanyang hudie pai wenxue ziliao 鴛鴦蝴蝶派文學 資料 YHYZ Wei Shaochang, ed. Yuanyang hudie pai yanjiu ziliao 鴛鴦蝴蝶派研究資 料 ZDFZS Cheng Jihua, et al., eds. Zhongguo dianying fazhanshi 中國電影發展史 ZHWSJ Tian Han, et al., eds. Zhongguo huaju yundong wushinian shiliaoji 中國話 劇運動五十年史料集 ZWD Zhongguo dianying ziliaoguan, ed. Zhongguo wusheng dianying 中國無聲 電影 ZWDJB Zheng Peiwei, et al. ed. Zhongguo wusheng dianying juben 中國無聲電影 劇本 ZZDY Chen Bo, et al., eds. Zhongguo zuoyi dianying yundong 中国左翼电影运动 iv Acknowledgements Words are inadequate to express my gratitude to many individuals who have contributed to the making of this thesis over the past three years and ten months. My deepest appreciation goes to my advisor Barbara Mittler, an exceptionally committed mentor, for her never failing support and her instruction with unflagging zeal. She read every line of each chapter of my three drafts with admirable patience. I have benefitted tremendously from her insightful comments, inspirational thoughts, as well as numerous helpful suggestions about the skills and technical details of writing an academic thesis. I also owe a great debt to my co-supervisor Anne Kerlan. With her specialist expertise in early Chinese film history, she raised many thought-provoking questions and offered valuable advice, both of which have been crucial to this study. The chair of my examining committee Joachim Kurtz read through my thesis and provided constructive feedback, which I have highly appreciated. My heartfelt thanks also go to Nanny Kim and Xiao Zhiwei. I have always enjoyed the conversations with Nanny who shared with empathy my joys of unearthing intriguing materials as well as my confusions and anxieties in the course of writing. It is extremely kind of her to have carefully read my drafts and provided invaluable help with language correction and many comments. As a historian of Chinese early cinema, Zhiwei generously gave me special permission to his "private library" built up through his arduous archival research over two decades. Besides, for his warm support and sympathetic understanding, I owe profound gratitude to him. As this historical study has relied largely upon primary source materials scattered in a wide range of newspapers, periodicals and archival documents at various libraries and archives, I am deeply indebted to the following teachers and friends who drew my attention to particular materials, shared with me their own collections or researches, or helped me locate certain missing pieces:
doi:10.11588/heidok.00010406 fatcat:ii5jj26aw5c4hmt2oajbmmaxai