银幕艳史（后集） (1931)
银幕艳史（后集）
王凤珍与方少梅同居，以为终生有托，铅华尽去，甘为人妇。不料少梅反嫌凤珍不自珍惜，两人渐生裂痕。少梅开始与舞女结交，热情可比追求凤珍之时。凤珍责问，少梅一怒而去。凤珍梦中见到导演，导演说少梅爱的并非才华容貌，而是你身为明星。凤珍开始醒悟，次日找到导演，再度复出。当日掌掴自己之人已为配角，并有被凤珍掌掴之戏。凤珍演罢，少梅驱车来接，舞女寻来，少梅将其怒斥。舞女亦生明星梦想，辗转托人要进入公司……
- 上映日期
- 1931-02-06
- TMDB
- 9.0 / 10 (2)
- 片长（分钟）
- 53分钟
- 类型
- 喜剧, 剧情
- 导演
- Bugao Cheng
演员阵容
- Jing Jinglin
- Peizhen Xia
- 王吉亭
- Zhiyuan Tan
- 王献斋
- Jie Tang
- Yunqing Xie
- Junfu Huang
- Xiuying Zhu
- Shichuan Zhang
- Keyi Dong
- Yiman Wang
趣闻
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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