WOMAN, GENERIC AESTHETICS, AND THE VERNACULAR HUANGMEI OPERA FILMS FROM CHINA TO HONG KONG

• Published in: Gender Meets Genre in Postwar Cinemas p. 177
• Main Author: XIANGYANG CHEN
• Format: Book Chapter
• Language: English
• Published: University of Illinois Press 17.01.2012
• Subjects: Aesthetics; Anthropology; Applied aesthetics; Applied anthropology; Arts; Axiology; Behavioral sciences; Business; Cognitive psychology; Cultural anthropology; Cultural industries; Cultural studies; Emotion; Emotional states; Entertainment industries; Film studies; Gender identity; Gender roles; Gender studies; Human behavior; Human sexual behavior; Industrial sectors; Industry; Love; Motion picture industry; Movies; Music; Musical aesthetics; Musical performance; Musical theater; Opera; Paraphilias; Performing arts; Philosophy; Psychology; Singing; Social sciences; Theater; Theater history; Theatrical genres; Transvestism
• ISBN: 9780252036613; 0252036611

In 1963, an article entitled “The Wondrous Tale ofThe Love Eterne& the Miracle of a Film Industry” inSouthern Screen,the trade journal of Hong Kong-based Shaw Brothers, captured the phenomenal reception of the studio’s Huangmei opera film,The Love Eterne. Published in both Chinese and English, the English version runs like this: Throughout May and June the hottest thing in Taiwan was not the weather, but Shaw brothers costume musical “Love Eterne” [sic]. Never in China’s history has a picture—Chinese or foreign been welcomed with such fervor and adoration. Everyone, native born or mainlander, has seen