“Trans-media strategies of appropriation, narrativization, and visualization : adaptations of literature in a century of Chinese cinema” (Publication, 2007)
Year
2007
Text
Qin, Liyan. Trans-media strategies of appropriation, narrativization, and visualization : adaptations of literature in a century of Chinese cinema. (Diss. Univ. of California, San Diego, 2007).
http://escholarship.org/uc/item/5vd0s09p. (QinL1)
http://escholarship.org/uc/item/5vd0s09p. (QinL1)
Type
Publication
Contributors (1)
Qin, Liyan
(um 2007)
Subjects
Art : Cinema
/
References / Sources
Chronology Entries (5)
| # | Year | Text | Linked Data |
|---|---|---|---|
| 1 | 1926 | Film : Yi chuan zhen zhu = 一串珍珠 von Chang Cheng Film Company, nach der Übersetzung von Hou Yao, unter der Regie von Li Zeyuan nach Maupassant, Guy de. La parure. In : Le Gaulois ; 17 févr. (1884). = In : L'héritage. (Paris : E. Flammarion, 1888). |
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| 2 | 1928 |
Film : Shao nai nai de shan zi = 少奶奶的扇子 [The young mistress's fan] in der Übersetzhung von Hong Shen, unter der Regie von Zhang Shichuan nach Wilde, Oscar. Lady Windermere's fan. (London : Elkin Mathews and John Lane, 1893). (Kline/Roethke collection). [Erstaufführung 1892 St. James Theatre London]. Hong Shen was not satisfied with the several versions of translation as 'they were not appropriate to the Chinese theatre'. He translated it again, and made many changes according to his own taste. As one critic observes, "All the place names and the names of persons are given in common Chinese names, and the details of everyday life are also adapted to Chinese custom and convention. Only the main theme and the general spirit of the play, plus the plot and setting, remained with the original style". Mao Dun : "Five hundred tickets were sold out immediately, and they had to issue two hundred extra tickets. After the first night personages of various circles in Shanghai strongly demanded extra performances." |
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| 3 | 1929 |
Aufführung von Shalemei nach Wilde, Oscar. Salomé : drame en un acte. (Paris : Librairie de l'art indépendant, 1893). = Salome : a tragedy in one act. (London : E. Mathews & John Lane ; Boston : Copeland & Day, 1894). [Uraufführung Théâtre de l'oeuvre, Paris, 1896] in der Übersetzung von Tian Han in Nanjing und Shanghai. Tian Han schreibt : "My translation of Salomé was successful when it was published in 1921. It has been seven or eight years now and it hasn't yet performed. And now we just have found very good actors playing the roles of Iokanaan, Salomé and Herodias. Rebelling against the standard social attitude is most obvious in this play. This is why we have chosen to perform this play." Tian Han added social significance to the play in order to defend his aim of staging it, which was to him an artistic way to unite different classes together for a noble and national purpose. Even though he thought Salomé was not about individualism, his interpretation was indeed individualistic and questionable. Paradoxically, he was not so much politicizing the play as romanticizing it further. His choice of Salomé betrayed a strong sentiment undercurrent, albeit his claims of social interests. When the play was performed, the power of the socially-minded intellectuals was already quite strong. Shi Jihan described the first night of the performance : "There are only three hundred seats in the theatre, yet the people who came to see the play numbered more than four hundred.” Salomé was acclaimed by the audience, who were fascinated by the emotional qualities of the female protagonist. The play left such an impression that it was soon imitated by several Chinese playwrights." Xu, Zhimo. Guan yu nü zi. In : Xin yue yue kan ; vol. 2, no 8 (Oct. 1929). Salomé incontestably presented a different, daring and outspoken image of woman for many Chinese intellectuals. Xi Zhimo expressed the tension between personal, artistic expression and social boundary as he recalled his impression on Yu Shan, the lady who played Salomé. One night, during the performance, when Yu Shan was about to say, 'I will kiss thy mouth, Iokanaan', she caught a glimpse of her mother sitting in the front row and staring angrily at her. Instead of saying the line with might and passion, she was lowering her voice and slurring over the line. Xu commented that though in reality there were many objective obstacles preventing a 'new' or 'modern' woman to realize herself, the psychological barrier was less visible yet more destructive. The talented actress could have played her role more powerfully and dramatically but for the angry gaze of her mother, which represented a tacit censorship. That was the moment when the actress yielded to traditions at the expense of artistic expression. Salomé was then not so much a theatrical challenge as a psychological one since she embodied anti-traditional feminine qualities. To be a 'new' women, in the view of Xu, she needed to behave with psychological abandonment and be thoroughly courageous and persistent. Linda Pui-ling Wang : In the interest of reading Salomé in the Chinese context, the Chinese writers were looking for a psychological outlet and model which spoke to their personal needs but not the genuine moral and humanitarian aspects. The Chinese writers who were more romantic and sentimental even saw Salomé as an essential resolution to the class problems in society. Salomé undeniably excited and inspired the young Chinese people who had personal and emotional dreams, albeit a small and 'selected' group. The play provided a romantic appeal to bourgeois intellectuals such as Tian Han, Xu Zhimo and Ye Lingfeng, who could afford to see the play and greatly praised the play, but mainly its aesthetic aspects. The Chinese writers were generally fascinated with Salomé who certainly looked radical, nonconformist, modern and exemplified a new mode of thinking and behavior. As such, there was more revision than imitation in terms of meaning and goal. The femme fatale was then turned into a super heroine. The Chinese writers did not only discuss the play's literariness but also its social redefinitions affirms its significance to be a special product of that age. Salomé was a medium through which the Chinese writers voiced their romantic outcry and accumulated for themselves discourses in accordance to their desires and causes. Tian Han presented a more social and political defence for it. In the discursive labyrinth of Salomé, there were decadence, entertainment and fascination for an exotic femme fatale and a modern city as a surrogate oryal court in which the Chinese intellectuals indulged in their own pursuit of romantic dreams. |
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| 4 | 1936 | Film : Gu cheng lie nü = 孤城烈女 [A heroic girl] nach einer Novelle von Guy de Maupassant, durch das Lian hua Studio, geschrieben von Zhu Silin, unter der Regie von Wang Cilong, mit Chen Yanyan und Zheng Junli. | |
| 5 | 1948 | Film : Ye dian = 夜店 [Night Inn] durch das Wenhua Studio, geschrieben von Ke Ling, unter der Regie von Huang Zuolin. In der Hauptrolle Zhou Xuan als Meimei und Zhang Fa als Yang Qi ; nach Gorky, Maxim. Na dne. (Moskau : Aprelevskii zavod, 1902). [The lower depths]. |
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