
Contents
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A Problem Genre, a Genre Problem A Problem Genre, a Genre Problem
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Putting Wenyi Back into History Putting Wenyi Back into History
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Conclusion: Bringing Wenyi Up Front Conclusion: Bringing Wenyi Up Front
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Appendix 12.1 Film Advertisements Featuring Keywords of Wenyi, Literature, and Literary Work (1920–1940) Appendix 12.1 Film Advertisements Featuring Keywords of Wenyi, Literature, and Literary Work (1920–1940)
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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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12 A Small History of Wenyi
Get accessEmilie Yueh-yu Yeh is Professor and Head of the Cinema-TV Program and Director of the Centre for Media and Communication Research at Hong Kong Baptist University. Her major publications include: Rethinking Chinese Film Industry: New Methods, New Histories (Beijing: Beijing University Press, 2011). East Asian Screen Industries (with Darrell Davis, British Film Institute, 2008), Taiwan Film Directors: A Treasure Island (with Darrell Davis, Columbia University Press, 2005), Chinese-Language Film: Historiography, Poetics, Politics (with Sheldon Lu, University of Hawaii Press, 2005, Choice's 2005 outstanding academic title), and Phantom of the Music: Song Narration and Chinese-Language Cinema (Taipei: Yuan-liou, 2000). Her current research projects include China’s film marketization, Chinese wenyi pictures and early film industry.
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Published:01 October 2013
Cite
Abstract
The concept of wenyi played a key role in the distribution and promotion of films in the period from the second decade of the twentieth century to the early 1930s. Unlike the negative connotations of triviality, self-indulgence, even puerile pursuits that the term tends to carry today, wenyi at the time promised a sophisticated, worldly experience. This chapter maps the trajectory of wenyi, clarifies its importance, including its shifting meanings driven by literary and political forces and, more crucially, places it in a fluid cultural environment of literary enlightenment and social reform. Though wenyi as a construct has followed different paths since the 1960s, around 1930 it was a robust way to classify and describe cultural products and consumption. By revising wenyi’s history during the first decade of China’s full-fledged film production, we also find some of the exchanges between film and literature in this period.
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