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Center Stage: The Melodrama of Resistance

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Center Stage is a critically dialectic work interrogating one type of melodrama common to Shanghai cinema in the 1930s, influenced by Hollywood, but also haunting post-1945 Hong Kong cinema. Exploring such areas not only reinforces the richness of this great achievement of New Hong Kong Cinema but also further emphasizes it relevance for the present, a relevance very much in the minds of Stanley Kwan and his team when they engaged in a collaborative enterprise, the nature of which fully appears in the director’s cut version rather than the one intended for theatrical release. Any serious study of Center Stage has, of necessity, to concentrate on the extended version.
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Keywords: 1930s Shanghai cinema; Center Stage; Ruan Lingyu; Stanley Kwan; director’s cut; post-war Hong Kong cinema

Document Type: Research Article

Affiliations: South Illinois University of Carbondale

Publication date: 2011-03-01

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  • Asian Cinema is a seminal journal, which has been published since 1995 by the Asian Cinema Studies Society under the stewardship of Professor John Lent. From 2012 Asian Cinema will be published by Intellect as part of our Film Studies journal portfolio. The journal currently publishes a variety of scholarly material - including research articles, interviews, book and film reviews and bibliographies - on all forms and aspects of Asian cinema. The journal's broad aim is to advance understanding and knowledge of the rich traditions of the various Asian cinemas, thereby making an invaluable contribution to the field of Film Studies in general.
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