Cinematic female body in wartime Chinese cinema (1937-1945)

甲午战争时期，银幕内外的女性身体打破了中国电影的政治和地域界限，在中国电影的表达、传播和接受过程中发挥着重要作用。它们是具有性吸引力的对象，是与时尚和现代性捆绑在一起的商品，是通过审查覆盖电影的伪装。本研究将运用社会学和艺术学中身体研究的新理论“电影女性身体”来分析战时中国电影，这一新理论对电影研究中“什么是民族电影”这一常见问题给出了一种创新的分析方法和答案。1937-1945年，由于政治格局的分化，中国国产电影在地域上呈现出四种不同的风格和内容。沦陷区、大后方和租界故事片在叙事、题材和艺术上各具特色，但同样，女性身体在电影传达意义、吸引观众、影响观众的过程中，也是一个重要的、可见的媒介。它们在战争中成为一种视觉代码、话语、隐喻，甚至是一种可以被有效理解和感知的知识体系。本文在对战时中国电影进行概述和批评的基础上，借鉴社会学领域的身体研究，并在克里斯·谢林的音乐身体论的基础上，提出了一个新的理论框架--“电影女性身体”，作为分析战时中国电影的一个创新性的理论框架。这个概念源于我对电影中女性身体如何以及为什么能够有效地成为一种共同的审美、情感和情感代码的思考。在具体个案的分析中，电影中女性角色的特点、摄影机捕捉的角度、电影人的个人诉求、大众传媒塑造的女演员形象、战争形成的特殊政治文化氛围等都为解读提供了论据，电影女性身体理论可以是艺术的、经济的、政治的、社会的、文化的、历史的。同时，它在物理上相对具体，因为它将被应用于重新检查李莉莉的大腿、陈云尚的腹部和胸部、荣小艺的小腿。皮埃尔·布迪厄的男性统治研究和朱迪斯·巴特勒的女性主义身体研究启发了我思考女性是如何被社会塑造的，我的理论在此基础上进一步突出了电影在身体研究中的有形性和优越性，因为这将打破社会学中自然主义和社会建构主义的二元论。在我的研究中，大部分上海、重庆和香港制作的电影可以在网上观看，其余的可以在上海档案馆、上海电影博物馆、中国电影资料馆和法国电影博物馆（法国）找到。满语使用者协会制作的电影散见于长春电影制片厂、国家电影音像文化中心（台湾）和日本国家电影资料馆。我还将收集与损坏或丢失的电影有关的文字和图像，如广告，新闻，电影评论和评论。《电影》、《电影周刊》、《青青电影》是抗战时期发行时间最长、内容最完整、影响最大的电影刊物，其文章以影评人为主。这些文本都可以在网上查到，如《中国报系》和斯坦福大学提供的晚清民国时期中文报纸数据库。

During the Sino-Japanese War (1937-1945), female bodies on and off the screen broke the political and geographical boundaries of Chinese films and was vital in the process of domestic cinema's expression, communication and acceptance. They are the sexually attractive object, commodities bound with fashion and modernity and the camouflage that covers the films through the censorship. This study will analyse wartime Chinese films applying a new theory "cinematic female body" developed from body studies in sociology and art, which gives an innovative analytical method and answer to the common question "what is the national cinema" in the film studies.During the Sino-Japanese War (1937-1945), Chinese domestic films showed four different styles and contents geographically because of the division of political pattern. Feature films in the occupied area, the rear area and the concession area have their diverse characteristics in narrative, theme and art, but similarly, the female bodies are an important and visible medium in the process of film's conveying meaning, attracting and affecting the audience. They become a visual code, discourse, metaphor and even a knowledge system that can be understood and perceived effectively during the war. Based on outlining of the wartime Chinese films as well as their criticism, I propose a new theory, "cinematic female body", which benefits from the body studies in the field of sociology and develops from Chris Shilling's discussion of musical body as an innovative theoretical frame to analyse wartime Chinese cinema. This concept originated from my thinking about how and why the female bodies in the films can effectively become a common aesthetic, emotional and emotional code. In the analysis of specific cases, the characteristics of female roles in the film, the angle captured by the camera, the personal aspirations of filmmakers, the image of actresses shaped by the mass media, and the special political and cultural atmosphere formed by the war all provide arguments for the interpretation of it. The theory of cinematic female body could be artistic, economic, political, social, cultural or historical. Simultaneously, it is relatively concrete physically because it will be applied to re-examine Lili Li's thighs, Yunshang Chen's abdomen and chest, Xiaoyi Rong's calf. Pierre Bourdieu's study of masculine domination and Judith Butler's feminist body research inspired me to think about how women are socially shaped, and my theory further highlight the tangibility and superiority of the film in the body studies on this basis because this will break the dualism of the naturalism and social constructivism in the sociology. Most of the films produced by Shanghai, Chongqing and Hong Kong in my research can be viewed online, and the rest can be found in Shanghai archives, Shanghai Film Museum, China Film Archive and Cinémathèque Française (France). Films produced by Avio Manchurian used association are scattered in Changchun Film Studio, National film and audio-visual cultural centre (Taiwan) and National Film Archive of Japan. I will also collect words and images related to the damaged or lost films, such as their advertisements, news, film reviews and criticisms. Dian Sheng (MOVIETONE), Dianying Zhoukan (Screen Weekly), Qingqing Dianying (The Chin-Chin Screen) are the most complete and influential film publications with the longest release time during the war, and their articles were predominantly written by film critics. All these texts are available online, such as CNBKSY and the database of late Qing and Republican Era Chinese newspaper provided by Stanford University.