Abstract
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.
Original language | English |
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Pages (from-to) | 78-97 |
Number of pages | 20 |
Journal | Cinema Journal |
Volume | 41 |
Issue number | 3 |
DOIs | |
Publication status | Published - Mar 2002 |
Scopus Subject Areas
- Visual Arts and Performing Arts