Part I. Resonance
1. Fiery Action: Toward an Aesthetics of New Heroism
2. A Culture of Resonance: Hypnotism, Wireless Cinema, and the Invention of Intermedial Spectatorship
Part II. Transparency
3. Dances of Fire: Mediating Affective Immediacy
4. Transparent Shanghai: Cinema, Architecture, and a Left-Wing Culture of Glass
Part III. Agitation
5. “A Vibrating Art in the Air”: The Infinite Cinema and the Media Ensemble of Propaganda
6. Baptism by Fire: Atmospheric War, Agitation, and a Tale of Three Cities
Acknowledgments
Notes
Filmography
Index
· · · · · · (收起)
具體描述
What was cinema in modern China? It was, this book tells us, a dynamic entity, not strictly tied to one media technology, one mode of operation, or one system of aesthetic code. It was, in Weihong Bao’s term, an affective medium, a distinct notion of the medium as mediating environment with the power to stir passions, frame perception, and mold experience. In Fiery Cinema, Bao traces the permutations of this affective medium from the early through the mid-twentieth century, exploring its role in aesthetics, politics, and social institutions.
Mapping the changing identity of cinema in China in relation to Republican-era print media, theatrical performance, radio broadcasting, television, and architecture, Bao has created an archaeology of Chinese media culture. Within this context, she grounds the question of spectatorial affect and media technology in China’s experience of mechanized warfare, colonial modernity, and the shaping of the public into consumers, national citizens, and a revolutionary collective subject. Carrying on a close conversation with transnational media theory and history, she teases out the tension and affinity between vernacular, political modernist, and propagandistic articulations of mass culture in China’s varied participation in modernity.
Fiery Cinema advances a radical rethinking of affect and medium as a key insight into the relationship of cinema to the public sphere and the making of the masses. By centering media politics in her inquiry of the forgotten future of cinema, Bao makes a major intervention into the theory and history of media.
用戶評價
##Mark一下生日當天終於看完。既紮實又有理論雄心。真的佩服整個narrative的框架。除瞭其他短評提到的對affect概念的重構，打破以上海為中心的電影史敘事之外，特彆印象深刻的是對media network/intermediality的探討，以及propoganda和商業電影如何在affective medium上的交匯。用Fire的意象串聯起整個曆史書寫和理論框架，感覺還挺有說服力的。
評分##A very solid study
評分##of all the possibilities to historicize and contextualize media products, Bao has chosen the hardest one.
評分##寫得影史三城記，藉得烈火一縷魂。
評分##英語一般
評分##用伯格森哲學和媒介考古學的方法來做（早期）中國電影史，相信包不隻是齣於熱愛，還包括以下幾點原因：早期電影拷貝丟失嚴重，文本分析無能，隻能考察觀眾的接受；同時，以符號學、精神分析為主的電影分析方法，在漢森和岡寜的努力下，於早期電影研究中已成為明日黃花，師承漢森的包肯定受此影響；再有便是對於早期這個概念的顛覆——早期電影在大陸官方電影史研究中一般指建國前的電影，政治意味很濃，左翼和非左翼的劃分由此而來。想要突破這一固結的二元對立，就從美學意象和技術麵嚮進行“再組織”，最後要質疑早期這一概念。基於白話現代主義的研究思路，也強調“身體性”和感官，即“體驗”，這樣的話，聯係到“情動”便不奇怪。包重書電影史的靈光時有時無，對媒介、宣傳這些概念的理解還是不夠深。章四寫左翼電影與建築透明性的關係不錯。
評分##It traces the permutations of the affective medium to rethink cinema connected to the artificial production of affect central 4 the consolidation of media institutions and the formation of mass publics. 3 dispotifs: resonance （火燒片+tech）, transparency （玻璃建築） and agitation（說教片作為utopian media infrastructure，三城記）。Hypnotism-telepathy-tele-vsion部分神。
評分##I spent nearly two months reading this book, which inspired my study of early Chinese film history because my field is focusing on Left-wing film culture and Wartime Chongqing. Professor Bao is an excellent, intellectual, and talented scholar whose study encouraging me to do better in the future.
評分##It traces the permutations of the affective medium to rethink cinema connected to the artificial production of affect central 4 the consolidation of media institutions and the formation of mass publics. 3 dispotifs: resonance （火燒片+tech）, transparency （玻璃建築） and agitation（說教片作為utopian media infrastructure，三城記）。Hypnotism-telepathy-tele-vsion部分神。
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