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
##of all the possibilities to historicize and contextualize media products, Bao has chosen the hardest one.
評分##英語一般
評分##A very solid study
評分##又渡瞭一劫……
評分##看的時候忍不住想到D提到過的，你付齣的精力越多，你的讀者需要付齣的精力就越少，深以為然。
評分##看的時候忍不住想到D提到過的，你付齣的精力越多，你的讀者需要付齣的精力就越少，深以為然。
評分##英語一般
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##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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