银幕艳史（后集）

银幕艳史（后集） (1931)

Part two of A comedy film set on Shanghai film studio. The background events frequently involve the shooting of other films being made at Mingxing Film Company at the time. This includes a sequence of the 17th episode of the silent wuxia film series Burning of the Red Lotus Temple, which is the only known footage from this historic series to exist.

Data lansării
1931-02-06
TMDB
9.0 / 10 (2)
Durată
52 min
Genuri
Comedie, Dramă
Regizor
Bugao Cheng

Distribuție

Curiozități

An Amorous History of the Silver Screen is a 1931 film in two parts directed by Cheng Bugao for the Mingxing Film Company. Starring Xuan Jinglin, it follows a courtesan who rises to stardom in the Shanghai film industry, endangers her position for romance, and ultimately decides to earn an independent living through acting. This film, which used Mingxing's studios as part of its setting, has been read as a metafilm featuring biographic elements. Part of the film has been lost, with only 52 minutes of the second part surviving.

Production

An Amorous History of the Silver Screen was directed by Cheng Bugao for the Mingxing Film Company. Cinematography was handled by Dong Keyi, while the intertitles were provided by Zheng Zhengqiu. Xuan Jinglin took the starring role of Wang Fengzhen. Elements of the film were biographic; as with Wang Fengzhen, Xuan had been a courtesan before being discovered by Mingxing co-founder Zhang Shichuan, with her contract bought out by the studio.

In her exploration of metafilm in early Chinese cinema, Kristine Harris positioned An Amorous History of the Silver Screen within a genre of films about films; this also included the United Photoplay Service's Two Stars in the Milky Way (Shi Dongshan, 1931) and the Tianyi Film Company's The Female Movie Star (1926). This was not Mingxing's first film to deal with the theme.

Mingxing served as the set for An Amorous History of the Silver Screen's studio tour, showcasing itself as a "magic workshop of virtual reality" that used modern lighting, extravagant set-pieces and innovative special effects. These elements are presented in what the sinologist Christopher G. Rea characterizes as a "fun" manner, and include the synchronized application of make-up as well as efforts to control extras.

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