The first study is a reflective argument on Shanghai cinema studies. It is a disjunctive work that explains the conceptual ambiguity of "Shanghai cinema" and insists on making new methodology on it. It can be each rearranged urban studies, cinema stud ...
The first study is a reflective argument on Shanghai cinema studies. It is a disjunctive work that explains the conceptual ambiguity of "Shanghai cinema" and insists on making new methodology on it. It can be each rearranged urban studies, cinema studies, and cultural studies. We collected about 270 Shanghai films and studied on 141 Shanghai films before 1949 and after 1980. The main film genre before 1949 was social film. We have another study that research about cinema culture mechanism in Shanghai in 1930's. It also researches the quantities of films, and observes the elements of existence and operation of the film companies. Silent cinemas thereafter went through its cycle of search, development, maturity and downfall, later waning as big and small studios ceased to produce them around 1935-36. The silent cinema, as distinguished from other artistic forms, is positioned in the cinematic narrative arena. This arena is shared with the sound film. The plot of this silent cinema proceeds focusing on the realities of Shanghai-as if it were an artistic documentary. Elaborating on the semi-colonial and semi-feudal realities whereby most women are forced out on the street to work as bar girls and hookers, it achieves an aesthetic accomplishment on screen by demonstrating with the above-mentioned epic elements the night scenes of Shanghai. In the 1930's Shanghairen(上海人)'s urban and cinema experience displayed their hybrid correspondence form to the colonial modern, such an experience embodied Shanghairen's identity. After the middle of 1990s, Shanghai nostalgia touched off boom in whole China, this was focused on Shanghai which was in the before socialism, especially, Shanghai during 1920s and 1930s. Shanghai nostalgia provided imagination for the memory of lacked affluence to Chinese people, who just came out the period 'war' and 'revolution'. As a result, China regarded Shanghai as a advance base of cultural union between the East and the West which had globalization and varieties, and as a city that cultural identity of the citizens in Shanghai was more changable and disordered than in any other city in China. The films of the 1930s and 40s provide a good chance that made us experience cultural phases at that time directly. The Cultural Characteristics and Meanings of Civil Culture With Special Reference to the Formation and Transformation in Urban Culture in Shanghai Since 1980s. We tried to configurate the dynamics of sociocultural fields of the region processed by the upsurge of the middle class, so-called new civil class. Because of the emergence of the television after the middle of 1980s and the rapid-spread of new media like MTV, internet, cable, video, game as well as the phenomenon that a large cinema audiences crowded into Hollywood and Hongkong films after the 1990s, Chinese films imitated poorly them under the technology, capital, other capacity were not provided, so they could only produced the action, espionage, war films, the result was that Chinese cinema audiences more disregarded them. As the capitalism and city culture of Shanghai during 1920s and 1930s were suppressed as the hidden structure in the Chinese socialism in that time, it revived after the middle of 1990s. After the middle of 1990s, Shanghai nostalgia touched off boom in whole China. Shanghai nostalgia provided imagination for the memory of lacked affluence to Chinese people, who just came out the period 'war' and 'revolution'. And, our concern in this paper is to explore what dynamics of globalization are illuminated by a consideration of the urban transformations that have distinguished Shanghai and Seoul City as global cities. We try to explain the comparison with the contents and forms of urban dynamics with special reference to cultural strategies for development in Shanghai and Seoul as global cities.