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Chinese Cinema: Tracing the Origins     Abstract


I  Origins of Chinese Cinema

China’s First Feature? The Canonisation of The Difficult Couple
Huang Xuelei

Further Exploration of the Origins of Hong Kong Cinema – A Closer Look at Benjamin Brodsky, Van Velzer, the Lai Brothers, and Some Issues Arising from Research on Early Hong Kong Cinema
Law Kar

The Road to Unravelling the Mysteries Behind Hong Kong’s Cinematic History
Zhou Chengren & Li Yizhuang

Stealing a Roast Duck: Researching the Myth
Wong Ain-ling & Grace Ng

The Fabulous Adventures of Benjamin Brodsky
Frank Bren

Making Connections: Benjamin Brodsky and Early Trans-Pacific Cinema Historiography
Ramona Curry

Anecdotes and Chinese Early Cinema: Renegotiating with Benjamin Brodsky
Liao Gene-fon

The (Possible) Circulation of Movie Industry Professionals Between Taiwan, Hong Kong, Japan, China and Indochina in the Late 19th Century
Lee Daw-ming

II  Industry and Art

The Development of Early Chinese Cinema and Contemporary Nationalism – A Study Centred on Chinese Films of the 1920s
Wang Chaoguang

Early Chinese Film Companies: Business Models and Operational Problems
Lee Pui-tak

From Loanwords to Conceptual Models: The Application and Definition of ‘Wenyi’ in Early Cinema
Emilie Yeh Yueh-yu

From Stage Aesthetic to Cinematic Aesthetic: The Evolution of Film Language in Early Chinese Cinema
Lo Wai-luk

Hou Yao, ‘Griffith Fever’, and the Cultural Environment of Early Chinese Melodrama
Zhang Zhen

'Voiceover' and 'Soundtrack' in the Silent Film Era
Zhang Wei & Yan Jieqiong

The Brain as a Movie Theatre: A Construction of Modern Subjectivity in Zhou Shoujuan’s Confidante
Chen Jianhua

Appendix: Reference materials in CD-ROM

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