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)
具体描述
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.
用户评价
##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 （火烧片+tech）, transparency （玻璃建筑） and agitation（说教片作为utopian media infrastructure，三城记）。Hypnotism-telepathy-tele-vsion部分神。
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##又渡了一劫……
评分##A very solid study
评分##用伯格森哲学和媒介考古学的方法来做（早期）中国电影史，相信包不只是出于热爱，还包括以下几点原因：早期电影拷贝丢失严重，文本分析无能，只能考察观众的接受；同时，以符号学、精神分析为主的电影分析方法，在汉森和冈宁的努力下，于早期电影研究中已成为明日黄花，师承汉森的包肯定受此影响；再有便是对于早期这个概念的颠覆——早期电影在大陆官方电影史研究中一般指建国前的电影，政治意味很浓，左翼和非左翼的划分由此而来。想要突破这一固结的二元对立，就从美学意象和技术面向进行“再组织”，最后要质疑早期这一概念。基于白话现代主义的研究思路，也强调“身体性”和感官，即“体验”，这样的话，联系到“情动”便不奇怪。包重书电影史的灵光时有时无，对媒介、宣传这些概念的理解还是不够深。章四写左翼电影与建筑透明性的关系不错。
评分##看的时候忍不住想到D提到过的，你付出的精力越多，你的读者需要付出的精力就越少，深以为然。
评分##英文水平不足以让我看懂他的深邃思想。
评分##英语一般
评分##英语一般
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