Sounding the Modern Woman , livre ebook

297

pages

English

Ebooks

2015

Écrit par
Ma Jean Ma

Publié par
Duke University Press

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297

pages

English

Ebooks

2015

Lire un extrait

Obtenez un accès à la bibliothèque pour le consulter en ligne En savoir plus

Publié par

Duke University Press

Date de parution

29 mai 2015

EAN13

9780822375623

Langue

English

Poids de l'ouvrage

18 Mo

From the beginning of the sound cinema era, singing actresses captivated Chinese audiences. In Sounding the Modern Woman, Jean Ma shows how their rise to stardom attests to the changing roles of women in urban modernity and the complex symbiosis between the film and music industries. The songstress-whether appearing as an opera actress, showgirl, revolutionary, or country lass-belongs to the lineage of the Chinese modern woman, and her forty year prevalence points to a distinctive gendering of lyrical expression in Chinese film. Ma guides readers through film history by way of the on and off-screen careers of many of the most compelling performers in Chinese film history, such as Zhou Xuan and Grace Chang, revealing the ways that national crises and Cold War conflict shaped their celebrity. As a bridge between the film cultures of prewar Shanghai and postwar Hong Kong, the songstress brings into view a dense web of connections linking these two periods and places that cut across the divides of war, national politics, and geography.

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Publié par

Duke University Press

Date de parution

29 mai 2015

EAN13

9780822375623

Langue

English

Poids de l'ouvrage

18 Mo

S O U N D I N G T H E M O D E R N W O M A N

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S O U N D I N G T H E M O D E R N W O M A N The Songstress în Chînese Cînema•jean ma

Duke Unîversîty Press•Durham and London•2015

© 2015 Duke Unîversîty Press A rîghts reserved Prînted în the Unîted States o Amerîca on acîd-ree paper∞ Cover desîgn by Amy Ruth Buchanan. Text desîgn by Courtesy Leîgh Baker. Typeset în Whîtman by Westchester Pubîshîng Servîces

Lîbrary o Congress Cataogîng-în-Pubîcatîon Data Ma, Jean, 1972– Soundîng the modern woman : the songstress în Chînese cînema / Jean Ma. pages cm Incudes bîbîographîca reerences and îndex. isbn978-0-8223-5865-7 (hardcover : ak. paper) isbn978-0-8223-5876-3 (pbk. : ak. paper) isbn978-0-8223-7562-3 (e-book) 1. Motîon pîctures— Chîna—Hîstory. 2. Women sîngers în motîon pîctures. 3. Women sîngers—Chîna. I. Tîte. pn1993.5.c6m354 2015 791.43'65220951—dc23 2014044250

Cover art: Grace Chang înThe Wild, Wild Rose(dîrected by Wong Tîn-am, 1960). Permîssîon o Cathay-Kerîs Fîms Pte. Ltd. Background pattern rom îustrart/Aamy.

c o n t e n t s

Acknowedgments•vîî

Introductîon•1

1 A Songstress Is Born•31

2 From Shanghaî to Hong Kong•71

3 The Lîtte Wîdcat•103

4 The Mambo Gîr•139

5 Carmen, Camîe, and the Undoîng o Women•185

Coda•213 Notes•219 Chînese Fîms Cîted•247 Bîbîography•253 Index•267

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a c k n o w l e d g m e n t s

In the summer o 2010 I vîsîted the Hong Kong Fîm Archîve or the ﬁrst tîme, wîth a vague notîon o startîng a book project about the ﬁms and songs o the postwar star Grace Chang. What I ound ater îmmersîng myse în the archîve ed me to undamentay rethînk my understandîng o Chînese ﬁm hîstory, resutîng în a dîferent book rom what I had înîtîay conceîved. The oowîng îndîvîduas heped brîng thîs project to ruîtîon and shaped many o îts twîsts and turns. It îs dîicut to îmagîne how thîs book woud have come together wîthout the encouragement and support o Sam Ho, who was head o programmîng at the Hong Kong Fîm Archîve or the duratîon o my research. Sam was un-aîîngy generous în sharîng hîs expertîse, recommendîng ﬁms and readîngs, hepîng me navîgate the archîve, and actîng as a soundîng board or my îdeas. Even though I am very happy to be ﬁnîshed, I mîss the peasure o hîs company and the deîcîous ood at our unches în Saî Wan Ho. Andrew Jones not ony înspîred many o the questîons asked în thîs book wîth hîs înnovatîve schoarshîp, but he aso payed an înstrumenta roe în îts deveopment. I am deepy grateu or hîs rîgorous crîtîca eedback, whîch has beneﬁted thîs study rom begînnîng to end în countess ways and heped me better artîcuate îts maîn îdeas. I owe a debt o gratîtude to Jason McGrath or beîng a terrîﬁc coeague and aso a staunch ay when I needed ît most. Guo-Juîn Hong has been a consîstenty enîvenîng presence. I treasure hîs rîend-shîp and wît, and I thank hîm or beîng a wonderu host when I presented my research at the Asîan/Pacîﬁc Studîes Instîtute at Duke Unîversîty. Emîîe Yeh and Darre Davîs provîded me wîth an înteectua anchor and a reason to ook orward to my trîps to Hong Kong. On many occasîons they have been gracîous hosts and învîgoratîng înterocutors. I thank Emîîe or în-cudîng me în the exceent conerence she organîzed at Hong Kong Baptîst Unîversîty în 2013. Sze Weî Ang was a îesaver on mutîpe occasîons; I thank

her or amazîng cuînary adventures, gîvîng me reuge, and hepîng me obtaîn îmages or the book. I had a great tîme exporîng Hong Kong wîth Gîorgîo Bî-ancorosso and thank hîm or makîng me ee at home there. At Stanord Unîversîty I have reîed much on the support o my coeagues Beth Kesser, Pave Levî, and Rîck Vînograd. I coud not ask or a better co-eague and mentor than Scott Bukatman has been to me; hîs enthusîasm or thîs book was a sustaînîng orce and a constant remînder o why ît was worth wrîtîng. I am grateu to Pave or hîs edîtorîa înput on the book proposa at a crîtîca stage în the process, and to Scott or gîvîng the întroductîon a thor-ough readîng near the end. Charîe Kronengod ofered some key musîcoogî-ca poînters. I thank hîm and Caro Vernaîs or sharîng în the gratîﬁcatîons o songstress perormance. I ound an extraordînarîy vîbrant înteectua com-munîty în the Perormance Foca Group rom 2011 to 2012, and I thank îts members or theîr însîghtu responses when I presented a portîon o chapter 3 to them. My thanks aso go to the graduate students în my Chînese cînema semînar and to the acuty eows at the Mîchee R. Cayman Instîtute or theîr thoughtu engagement wîth my work. I am grateu to the coeagues and rîends who read portîons o the manu-scrîpt, extended opportunîtîes to present my work, and kept my spîrîts aﬂoat through the ups and downs o the past ew years: Weîhong Bao, Rob Cup, Barbara Ess, Leah Gîîam, Chîka Kînoshîta, Akîra Lîppît, Dan Morgan, Dan O’Neî, Abé Markus Nornes, Lîsa Outar, John Davîd Rhodes, Nerîna Rustomjî, Kar Schoonover, and Juîe Sze. The resut o my edîtorîa coaboratîon wîth Karen Beckman many years ago was not ony a book but aso an ongoîng con-versatîon that never ceases to teach, energîze, and înspîre me. I’ve been ucky to ﬁnd an amazîng research assîstant în Hsînyî Tîfany Lee. I thank Tîfany or her contrîbutîons to the research and transatîons în thîs book, and Chenshu Zhou or her hep wîth archîva research. I thank Ken Wîssoker at Duke Unîversîty Press or champîonîng thîs project and or hîs wîse edîtorîa guîdance. Eîzabeth Aut was wonderu to work wîth as an edîtor, and Danîee Szuczewskî skîuy steered ît through productîon. The three anonymous revîewers o the manuscrîpt ofered much hepu eed-back, and I thank them or theîr rîgorous readîngs and constructîve crîtîcîsm. The staf at the Hong Kong Fîm Archîve accommodated a o my research requests wîth great patîence and proessîonaîsm. I am grateu to Dîana Mîu or her învauabe assîstance în securîng permîssîons and reproductîons, and to Cathay-Kerîs Fîms and the Shaw Organîsatîon or aowîng me to reprînt theîr îmages. Thanks to the Perormîng Arts Coectîon at Arts Centre Me-bourne or the beautîu photograph o Loînda Raque and to Lucy Spencer or

viii•acknowledgments

her kînd assîstance. Thanks to Zhaohuî Xue and Grace Yang at Stanord’s East Asîa Lîbrary or hepîng me to navîgate the Chînese coectîon. A portîon o chapter 4 was prevîousy pubîshed înCamera Obscura. My research was supported by a Freeman-Spogî Instîtute Hewett Facuty Grant and a Mîchee R. Cayman Instîtute or Gender Research Feowshîp. I can aways count on Amber, Yvette, Ayîng, and Cheng-Quînn Ma or theîr ovîng support and, whenever requîred, an înusîon o good humor. Thîs book îs especîay îndebted to my mother, Ayîng, who possesses a stunnîng memory or musîc and spent many hours wîth me îstenîng to songs, watchîng ﬁm cîps, and porîng over od ﬁm magazînes. Experîencîng the materîa through her eyes and ears made ît meanîngu în ways I coudn’t have antîcîpated. Ed Sîmnett has been wîth me through the entîre process o researchîng and wrîtîng thîs book. I share wîth hîm competey the vîctory o reachîng the ﬁn-îsh îne, aong wîth a o the happîest thîngs în îe. Thîs book îs dedîcated to hîm wîth much ove.

acknowledgments•ix

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