
Contents
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The Creation of a “National Cinema” The Creation of a “National Cinema”
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Colonization as Homecoming: Li Xianglan’s Interethnic Romances Colonization as Homecoming: Li Xianglan’s Interethnic Romances
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Cosmopolitanism and Modernity in Manchuria’s Cities Cosmopolitanism and Modernity in Manchuria’s Cities
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The National Body under Threat from Opium and Lice The National Body under Threat from Opium and Lice
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From Manying to Dongying, and a Postscript on The Last Emperor From Manying to Dongying, and a Postscript on The Last Emperor
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Notes Notes
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Works Cited Works Cited
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31 Crossing the Same River Twice: Documentary Reenactment and the Founding of PRC Documentary Cinema
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4 A National Cinema for a Puppet State: The Manchurian Motion Picture Association
Get accessJie Li is a Cotsen Postdoctoral Fellow in East Asian Humanities at the Princeton Society of Fellows in Liberal Arts. Her articles on film have appeared or are forthcoming in the journals Public Culture, Modern Chinese Literature and Culture, China Perspectives, Jump Cut, Journal of Chinese Cinemas and positions: east asia cultures critique. Her current book projects are Utopian Ruins: A Memory Museum of the Maoist Era and Cinematic Manchuria: A Transnational History. She has also made documentary films in China and Cameroon.
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Published:01 October 2013
Cite
Abstract
Founded in 1937, the Manchurian Motion Picture Association (Manying) produced hundreds of films to propagate the ideology of the Great East Asia Co-prosperity Sphere, most of which were lost in the postwar chaos. This chapter analyzes Manying’s magazines, former employee memoirs, and seven extant films—including wartime interracial romances starring the Japanese-born Li Xianglan, who always played Chinese roles, a musical on the Russian community in Harbin, a comedy about a country bumpkin in the modern capital, a historical costume drama on the Opium War, as well as an animated “educational documentary” on the dangers of lice. Despite Manying’s exclusion from national film historiographies, this chapter shows that it was created as a “national cinema” that was to help a nation-building process, yet its remnant fragments evoked ambivalent and contradictory imaginations of nationhood, serving as an illuminating parable for the aspirations and failures of modern states to engineer identities through cinema.
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