Fiery Cinema epub pdf mobi txt 电子书 下载 2025
发表于2025-04-29
Fiery Cinema epub pdf mobi txt 电子书 下载 2025
Weihong Bao is assistant professor of film and media and Chinese studies at the University of California, Berkeley.
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.
Fiery Cinema epub pdf mobi txt 电子书 下载 2025
Fiery Cinema 下载 epub mobi pdf txt 电子书 2025Fiery Cinema mobi pdf epub txt 电子书 下载 2025
Fiery Cinema epub pdf mobi txt 电子书 下载##写得影史三城记,借得烈火一缕魂。
评分 评分 评分 评分 评分##陪伴我开始电影史研究的案头书,写不同章节不断地读,终于有机会一次读完。本书关注电影与其他媒介互动的跨媒介视角,以及突破白话现代主义概念忽略政治维度,提出政治现代主义——左翼的透明美学与抗战时期重庆的宣传理论的尝试,确为电影史研究打开了广阔的视角。但是affective medium关联自然、物质、社会、感官多个层面,这样的理论架构会不会太过开阔,乃至于在丰富诠释之外缺乏内在的连贯性?
评分##首先必须承认Affective Medium是个超级有意思的framework,基于Henri Bergson,将电影放置在观众(Subject)和表征(Object)中间。它不只是一个机械化的观看机制,让创作者主动得把故事和信息喂给被动的观众。当然可能好莱坞大部分老白中产阶级是这样,但我想,他们看了一部烂片也会愤愤不平吧。所以在不同的社会语境下,必定有一个东西把观众和表征串在一起。在包卫红的眼里,它就是情动。当然在现代性中,要谈语境,确实跨媒介的角度是很合适的。自己要写点农村放映的东西,包的研究可能第一个关注民国时期的农村放映,之前的研究都过度关注上海等大城市了,第五章还是很有帮助的。我不太喜欢第二章,虽然说电视词源上可能是千里眼,但是电视媒介的引入真的与老百姓集体对于通灵的兴趣有关?
评分Fiery Cinema epub pdf mobi txt 电子书 下载 2025