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Journal of e-Media Studies, Volume 7 Issue 1: Early Cinema History (Understanding Visual Culture Through Silent Film Collections)

Yang Endnote 16

See also Christopher Rea, Chinese Film Classics, 1922–1949 (New York: Columbia University Press), 125. Kristine Harris notes that Wei Ming’s photographs as wall decorations go beyond narcissism; they propel the film audience to see her as a star, an image commodified and subject to a kind of voyeuristic gaze. See Harris, “The New Woman Incident: Cinema, Scandal, and Spectacle in 1935 Shanghai,” in Transnational Chinese Cinemas, Sheldon Hsiao-peng Lu, ed. (University of Hawai’i Press, 1997), 277–302.

 

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