By Jubin Hu
The booklet analyses the wide range of conceptions of "Chinese nationwide cinema" among the early years of the 20 th century and 1949, and contrasts those to conceptions of nationwide cinema in Europe and China.
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Additional info for Projecting A Nation: Chinese National Cinema Before 1949
It is important to note the conditions of film screening in China because they suggest the direction that Chinese filmmaking would take. It was these conditions, along with the cultural awareness of Chinese audiences, that later encouraged Chinese filmmakers to produce opera and spoken drama films, thus "naturally" combining traditional Chinese culture and Western culture. Chinese filmmakers, w h o attached great importance to Chinese culture, had found a way to use film to propagate Chinese culture.
53 My discussion of spoken drama aims to show that although spoken drama was a hybrid of Chinese opera and Western drama, it was regarded as very much "Chinese" in terms of its substance since it was used by reformers and intellectuals to address particular Chinese social problems. This in turn made it convenient for filmmakers to treat the spoken drama as belonging to traditional Chinese culture, and the foreign influence, at least with regards to the form, was therefore not emphasized. 54 The earliest Chinese short features were produced by these companies.
On the other hand, the public attached great importance to the spiritual domain: the expression of Chinese cultural identity, and the attitude of the Chinese public towards film Cinema and Cultural Awareness (1896-1920) 33 conforms to Chatterjee's theory on the spiritual level (culture). If we say that Chinese audiences unconsciously confused film with shadow play in terms of science and technology because their understanding was restricted by their historical conditions, then we find that the issue becomes more complex in terms of culture.
Projecting A Nation: Chinese National Cinema Before 1949 by Jubin Hu