387:. She was, therefore, an indication of the control the Japanese exercised over the Chinese film industry in Shanghai. (ref "Her Traces are Found Everywhere" 227, Shelly Stevenson, in Cinema and Urban Culture in Shanghai 1922-1943) Helped by the massive pop hits, "Candy-Peddling Song" (賣糖歌) and "Quitting (opium) Song" (戒煙歌), the film would catapult Li into stardom, as her earlier works had been in films so blatantly pro-Japanese, as to turn off most of the Chinese audience (Shelly, 227).
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287:. To Chinese audiences, on the other hand, the film promoted a spirit of resistance to a foreign enemy – namely, Japan – and upon its release garnered the largest audience in Chinese cinematic history. Ultimately the film (and the Shanghai filmmakers) was seen as tools of the enemy once the war was over, with many involved in the production (notably directors
283:, the film was designed by producers Kawakita Nagamasa and Zhang Shankun to offer "an interpretive fluidity to accommodate every spectator's ideological position." For Japanese audiences, the film could be read as anti-Western, as promoting the ostensibly "anti-colonialist" agenda of the
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The film was cast primarily with
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16:1943 film by Bu Wancang
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101:Running time
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599:Categories
506:Bu Wancang
420:References
412:Fu, p. 182
297:Zhu Shilin
289:Bu Wancang
207:Wade–Giles
116:(occupied)
105:96 minutes
61:Zhou Yibai
57:Written by
51:Zhu Shilin
43:Bu Wancang
558:Diao Chan
377:Manchuria
301:Hong Kong
110:Countries
574:Eternity
467:Eternity
456:Eternity
385:Eternity
363:and the
338:Wang Yin
329:Lin Zexu
279:and the
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258:Shanghai
231:Eternity
139:Eternity
125:Language
67:Starring
22:Eternity
444:, 2015)
371:Casting
254:Chinese
236:Chinese
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585:(1944)
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391:Notes
114:China
461:IMDb
307:Cast
240:萬世流芳
169:万世流芳
155:萬世流芳
89:1943
85:1943
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