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Knowledge Development: Cinema in China Prior to WWI

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Knowledge Development: Cinema in China Prior to WWI Meimei Xu Knowledge Development: Cinema in China prior to WWI Knowledge Development: Cinema in China prior to WWI Inaugural-Dissertation Zur Erlangung der Doktorwürde der Philosophischen Fakultät der Rheinische Friedrich-Wilhelms-Universität zu Bonn Vorgelegt von Meimei Xu aus Zhejiang, VR. China Bonn 2016 Gedruckt mit der Genehmigung der Philosophischen Fakultä t der Rheinischen Friedrich-Wilhelms -Universität Bonn Zusammensetzung der Prü fungskommission : Prof. Dr. Harald Meyer, Institut für Orient – und Asienwissenschaften (Vorsitzender) Prof. Dr. Wolfgang Kubin, Institut für Orient –und Asienwissenschaften (Betreuer und Gutachter) Prof. Dr. Ralph Kauz, Institut für Orient –und Asienwissenschaften (Gutachter) Prof. Dr. Veronika Veit, Institut für Orient –und Asienwissenschaften (weiteres prüfungsberechtiges Mitglied) Tag der mündliche Prüfung: 17. 02. 2016 TABLE OF CONTENTS Figures and Charts.................................................................................................... iii Convention and Abbreviations ................................................................................. iii Acknowledgements .................................................................................................. iv Abstract ..................................................................................................................... v Introduction ............................................................................................................... 1 Chapter 1. Magic Lantern, 1843-1897 ..................................................................... 20 1.1 Yingxi: A Semantics Retrospect ................................................................................ 21 1.2 Magic Lantern ........................................................................................................... 23 1.2.1 Lantern exhibitions: pre-screen stage .................................................................. 26 1.2.2 Lantern exhibitions: booming stage ..................................................................... 33 1.2.3 Lantern‘s three functional models ....................................................................... 45 1.2.4 Lantern‘s localization strategies .......................................................................... 47 1.3 Lantern and Cinema .................................................................................................. 55 1.3.1 Cinema as an advanced modification of lantern ................................................... 58 1.3.2 Cinema as a subject............................................................................................. 63 Chapter 2. Itinerant Exhibitors, 1897-1899 .............................................................. 65 2.1 Film Exhibitions in 1897 ........................................................................................... 65 2.1.1 Spreading route and the ―first‖ exhibition ............................................................ 67 2.1.2 Teahouses vs. Western halls: exhibitions in Shanghai .......................................... 71 2.1.3 Exhibitions beyond Shanghai: Hong Kong and Tianjin........................................ 82 2.1.4 Makeshift theatres ............................................................................................... 88 2.2 Film Activities in 1898 .............................................................................................. 98 2.3 Exhibitions in 1899.................................................................................................. 107 Chapter 3. War Cameramen, 1900-1905 .................................................................111 3.1 Film ExhibitionsShooting Practice: Bioscope and War Reportage ........................ 111 3.2. Boxer Rebellion...................................................................................................... 121 3.2.1 Cameramen to China in Boxer time................................................................... 125 3.2.2 Staged Boxer films ........................................................................................... 135 3.3 Russo-Japanese War ................................................................................................ 143 i 3.3.1 Cinema as propaganda tool and Siege of Port Arthur ......................................... 145 3.3.2 Fake war films .................................................................................................. 148 3.4 Chinese Image and Yellow Peril .............................................................................. 153 Chapter 4. Incipient Film Industry, 1906-1911 .......................................................162 4.1 Cinematograph Exhibitions...................................................................................... 162 4.2 Formative Film Industry .......................................................................................... 165 4.2.1 Film pioneers .................................................................................................... 170 4.2.2 Movie theatres in Shanghai ............................................................................... 180 4.2.3 Cinematograph companies ................................................................................ 188 4.3 Cinema in China After 1906 .................................................................................... 192 4.3.1 Anecdotes, theatres and film market status quos ................................................ 195 4.3.2 Southeast cities and Arcade Film Company in North China ............................... 198 Chapter 5. Chinese Fim Production, 1912-1914 ......................................................207 5.1 Exhibitions .............................................................................................................. 207 5.2 Chinese as Film Audiences: Li Hongzhang, Duan Fang and Wu Tingfang ............... 210 5.3 Chinese as Film Amateurs: Ching Ling Foo and Mooser brothers ............................ 221 5.4 The Beginning of Chinese Film Production.............................................................. 228 5.4.1 Benjamin Brodsky: film mogul in the Orient ..................................................... 230 5.4.2 Chinese film production: Asiatic Company and China Cinema Company .......... 237 Conclusion .............................................................................................................249 Appendix I: Tables .................................................................................................258 Appendix II: Filmography ......................................................................................263 Bibliography ..........................................................................................................270 List of Primary Source Materials ............................................................................279 ii Figures and Charts Fig. 1 Chinese Shadow Puppetry Figures Fig. 2 Yingxi deng Fig. 3 George Richardson& Company‘s Lantern Advertisement Fig. 4 Astor House Hotel Fig. 5 New Arcade in Beijing Chart 1 Methodist Missionary Lectures with Lantern Illustrations Chart 2 Three Models of Lantern Exhibitions before 1897 Chart 3 Lantern Exhibitions and Film Screenings, 1881-1913 Chart 4 Makeshift Theatres and Permanent Cinemas in Shanghai Chart 5 Pathé Film Rental System in Shanghai Convention and Abbreviations 1. Chinese characters are provided for all Chinese names, terms, and titles in the main text when they first appear. Afterwards, characters are given only when I deem necessary for ease of reference or other reasons. 2. In this these I use cinematograph to refer to the general movie machines, including projector and camera. In the early stage, short films are also called title or views. 3. The following abbreviations are used in the text and notes: A.D.C Amateur Dramatic Club AM&B American Mutoscope and Biograph MPW Motion Picture World NCH The English North China Herald 字林星周刊 NYC New York Clipper SB Shenbao 申報 SLADS Shanghai Literary and Debating Society XWB Xinwenbao 新聞報 Y.M.C.A Young Men‘s Christian Association ZDFZS Cheng Jihua, et al., eds. Zhongguo dianying fazhanshi 中國電影發展史 iii Acknowledgements Words are inadequate to express my gratitude to many individuals who have helped, supported and inspired me in the past four years and six months. My deepest appreciation goes to my advisor Prof. Wolfgang Kubin, a highly respected mentor, for his never failing support and encouragement. He read every line of my example writings and marked every minor error, with admirable patience. I have benefited tremendously from his insightful comments, profound thoughts and straight-to-the-point suggestions. I am also indebted to Prof. Ralph Kauz, who had made a large number of source materials available to this study and provided many opportunities for training my academic writing skills. My heartfelt thanks also go to Huang Xuelei and Shiro Yukawa. I have always enjoyed the conversations with Huang who has helped to draw the proposal from the very beginning and provided numerous constructive feedbacks, which I have highly appreciated. With his specialist expertise in media history, Yukawa raised many theoretical questions and generously shared with me collections from his ―private library‖. As this historical study has relied largely upon primary sources materials scattered in a wide range of newspapers, periodicals and archival documents at various libraries and archives, I am deeply
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