"The King of Comedy"in China: Charlie Chaplin's Star Image in Shanghai Newspapers and Film Magazines, 1914-1929
|Keywords:||卓別林;滑稽大王;明星形象;銀幕人格;真實人格;Charlie Chaplin;The King of Comedy;picture personality;real personality||Issue Date:||2010||Abstract:||
This study focuses on Charlie Chaplin’s star image in Shanghai newspapers and film magazines from 1914 to 1929, and his influences on Shanghai’s society, movie industry and popular culture. This thesis bases itself on Chaplin’s image as “The King of Comedy” in Shanghai during this period to explore the construction of Chaplin’s star image. Star image is composed of two essential elements: picture personality and real personality. It is not until the late 1910s that Shanghai newspapers started reviewing Chaplin’s films and reporting his real daily life beyond the screen. These articles not only made Shanghai audiences acquainted with Chaplin and his works, but shaped the Shanghai people’s evaluation toward Chaplin and also helped construct his star image thereafter. In the 1920s, Shanghai critics reported on Chaplin’s picture and real personalities more completely. They emphasized Chaplin’s ability to write, direct, and star in his own films, and praised his works for having profound meanings and being film art. Also, his real life crystallized in his films. These reviews constructed Chaplin’s multifarious star image, imprinted in Shanghai audiences, an achievement which Harold Lloyd, also dubbed “The King of Comedy,” failed to duplicate.
Chaplin’s star image had great impacts on the 1920 Shanghai society. His picture personality inspired early Chinese comedy films; his works and statements related to the movie industry set high standards for and influenced the development of Chinese movie industry. Moreover, Chaplin’s star image appeared in advertisements for Chinese-made products, for instance, the advertisement promoted by Nanyang Brothers Tobacco Company. In this way, he even entered into Shanghai people’s daily life. In a word, Chaplin’s star image and his works had become part of the legacy from which Chinese films have appropriated in the 1910s and the 1920s. Furthermore, they were a significant media to facilitate Sino-American cultural exchanges.
|Appears in Collections:||歷史學系|
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