Sinification, in the sense of rendering Chinese, or indigenizing a foreign medium, has been a dominant discourse in Chinese film historiography. This article analyzes film music in Chinese cinema of the 1930s and argues that sinification should not be taken as a natural or inevitable process but instead should be viewed as a conditional, negotiated practice, subject to intertwined industrial and political mediations.
|Number of pages||20|
|Publication status||Published - Mar 2002|
Scopus Subject Areas
- Visual Arts and Performing Arts