Aller au cinéma pour apprendre à être " moderne " ?
Identifieur interne : 000380 ( Hal/Corpus ); précédent : 000379; suivant : 000381Aller au cinéma pour apprendre à être " moderne " ?
Auteurs : Anne KerlanSource :
Descripteurs français
English descriptors
Abstract
Movie at its beginnings in China took over many places traditionally dedicated to Chinese culture (teahouse, gardens, theater and opera houses); however, it became very quickly obvious that movie screenings should be held in places that could mirror the novelty of the show, either by the architecture, the design of the room or by the etiquette. This was particularly true for theaters where western films were screened: going to see such films could be conceived as a global experience, a way to learn in all aspects the western modernity carried by these products. This article explains, through the study of a very special movie theater, the True Light Theater (Zhenguang xiyuan), how Beijing moviegoers borrowed the new, western, etiquette of the cinematographic shows. At the True Light, the manager introduced new rules of behavior that were modeled from an etiquette supposedly coming from the western movie theater. However, I will also explore how, if the True Light Theater was a place to experience the western modernity, Beijiners also locally adapted these news practices.
Url:
Links to Exploration step
Hal:halshs-01009352Le document en format XML
<record><TEI><teiHeader><fileDesc><titleStmt><title xml:lang="fr">Aller au cinéma pour apprendre à être " moderne " ?</title><title xml:lang="fr" type="sub">L'expérience de la salle de cinéma à Pékin, fin des années 1910-début des années 1920</title><author><name sortKey="Kerlan, Anne" sort="Kerlan, Anne" uniqKey="Kerlan A" first="Anne" last="Kerlan">Anne Kerlan</name><affiliation><hal:affiliation type="laboratory" xml:id="struct-420" status="VALID"><orgName>Institut d'histoire du temps présent</orgName><orgName type="acronym">IHTP</orgName><desc><address><addrLine>59/61 rue Pouchet 75849 Paris cedex 17</addrLine><country key="FR"></country></address><ref type="url">http://www.ihtp.cnrs.fr</ref></desc><listRelation><relation name="UPR301" active="#struct-441569" type="direct"></relation></listRelation><tutelles><tutelle name="UPR301" active="#struct-441569" type="direct"><org type="institution" xml:id="struct-441569" status="VALID"><idno type="IdRef">02636817X</idno><idno type="ISNI">0000000122597504</idno><orgName>Centre National de la Recherche Scientifique</orgName><orgName type="acronym">CNRS</orgName><date type="start">1939-10-19</date><desc><address><country key="FR"></country></address><ref type="url">http://www.cnrs.fr/</ref></desc></org></tutelle></tutelles></hal:affiliation></affiliation></author></titleStmt><publicationStmt><idno type="wicri:source">HAL</idno><idno type="RBID">Hal:halshs-01009352</idno><idno type="halId">halshs-01009352</idno><idno type="halUri">https://halshs.archives-ouvertes.fr/halshs-01009352</idno><idno type="url">https://halshs.archives-ouvertes.fr/halshs-01009352</idno><date when="2012-04-05">2012-04-05</date><idno type="wicri:Area/Hal/Corpus">000380</idno></publicationStmt><sourceDesc><biblStruct><analytic><title xml:lang="fr">Aller au cinéma pour apprendre à être " moderne " ?</title><title xml:lang="fr" type="sub">L'expérience de la salle de cinéma à Pékin, fin des années 1910-début des années 1920</title><author><name sortKey="Kerlan, Anne" sort="Kerlan, Anne" uniqKey="Kerlan A" first="Anne" last="Kerlan">Anne Kerlan</name><affiliation><hal:affiliation type="laboratory" xml:id="struct-420" status="VALID"><orgName>Institut d'histoire du temps présent</orgName><orgName type="acronym">IHTP</orgName><desc><address><addrLine>59/61 rue Pouchet 75849 Paris cedex 17</addrLine><country key="FR"></country></address><ref type="url">http://www.ihtp.cnrs.fr</ref></desc><listRelation><relation name="UPR301" active="#struct-441569" type="direct"></relation></listRelation><tutelles><tutelle name="UPR301" active="#struct-441569" type="direct"><org type="institution" xml:id="struct-441569" status="VALID"><idno type="IdRef">02636817X</idno><idno type="ISNI">0000000122597504</idno><orgName>Centre National de la Recherche Scientifique</orgName><orgName type="acronym">CNRS</orgName><date type="start">1939-10-19</date><desc><address><country key="FR"></country></address><ref type="url">http://www.cnrs.fr/</ref></desc></org></tutelle></tutelles></hal:affiliation></affiliation></author></analytic></biblStruct></sourceDesc></fileDesc><profileDesc><textClass><keywords scheme="mix" xml:lang="en"><term>China</term><term>history of cinema</term><term>modernity</term><term>movie theater</term><term>movie-going and movie-goers</term></keywords><keywords scheme="mix" xml:lang="fr"><term>Chine</term><term>histoire du cinéma</term><term>modernité</term><term>salle de spectacle</term><term>spectacle cinématographique</term></keywords></textClass></profileDesc></teiHeader><front><div type="abstract" xml:lang="en">Movie at its beginnings in China took over many places traditionally dedicated to Chinese culture (teahouse, gardens, theater and opera houses); however, it became very quickly obvious that movie screenings should be held in places that could mirror the novelty of the show, either by the architecture, the design of the room or by the etiquette. This was particularly true for theaters where western films were screened: going to see such films could be conceived as a global experience, a way to learn in all aspects the western modernity carried by these products. This article explains, through the study of a very special movie theater, the True Light Theater (Zhenguang xiyuan), how Beijing moviegoers borrowed the new, western, etiquette of the cinematographic shows. At the True Light, the manager introduced new rules of behavior that were modeled from an etiquette supposedly coming from the western movie theater. However, I will also explore how, if the True Light Theater was a place to experience the western modernity, Beijiners also locally adapted these news practices.</div></front></TEI><hal api="V3"><titleStmt><title xml:lang="fr">Aller au cinéma pour apprendre à être " moderne " ?</title><title xml:lang="fr" type="sub">L'expérience de la salle de cinéma à Pékin, fin des années 1910-début des années 1920</title><author role="aut"><persName><forename type="first">Anne</forename><surname>Kerlan</surname></persName><email>anne.kerlan@ihtp.cnrs.fr</email><idno type="halauthor">1041653</idno><affiliation ref="#struct-420"></affiliation></author><editor role="depositor"><persName><forename>Anne</forename><surname>Kerlan</surname></persName><email>anne.kerlan@ihtp.cnrs.fr</email></editor></titleStmt><editionStmt><edition n="v1" type="current"><date type="whenSubmitted">2014-06-19 12:24:19</date><date type="whenWritten">2011</date><date type="whenModified">2014-06-20 13:47:30</date><date type="whenReleased">2014-06-20 13:47:30</date><date type="whenProduced">2012-04-05</date><date type="whenEndEmbargoed">2014-06-19</date><ref type="file" target="https://halshs.archives-ouvertes.fr/halshs-01009352/document"><date notBefore="2014-06-19"></date></ref><ref type="file" subtype="greenPublisher" n="1" target="https://halshs.archives-ouvertes.fr/halshs-01009352/file/AKERLAN_IHTP_CM2012.pdf"><date notBefore="2014-06-19"></date></ref></edition><respStmt><resp>contributor</resp><name key="102883"><persName><forename>Anne</forename><surname>Kerlan</surname></persName><email>anne.kerlan@ihtp.cnrs.fr</email></name></respStmt></editionStmt><publicationStmt><distributor>CCSD</distributor><idno type="halId">halshs-01009352</idno><idno type="halUri">https://halshs.archives-ouvertes.fr/halshs-01009352</idno><idno type="halBibtex">kerlan:halshs-01009352</idno><idno type="halRefHtml">Conserveries mémorielles, 2012, 2012: Publics de cinéma. Pour une histoire des pratiques sociales (12), pp.en ligne</idno><idno type="halRef">Conserveries mémorielles, 2012, 2012: Publics de cinéma. Pour une histoire des pratiques sociales (12), pp.en ligne</idno></publicationStmt><seriesStmt><idno type="stamp" n="CNRS">CNRS - Centre national de la recherche scientifique</idno><idno type="stamp" n="AO-HISTOIRE">Archives ouvertes de l'Histoire</idno><idno type="stamp" n="HISTOIRE">HISTOIRE</idno><idno type="stamp" n="SHS">Sciences de l'Homme et de la Société</idno><idno type="stamp" n="IHTP" p="SHS">Institut d'histoire du temps présent - IHTP</idno></seriesStmt><notesStmt><note type="commentary">Article consultable en ligne: http://cm.revues.org/1108</note><note type="audience" n="2">International</note><note type="popular" n="0">No</note><note type="peer" n="1">Yes</note></notesStmt><sourceDesc><biblStruct><analytic><title xml:lang="fr">Aller au cinéma pour apprendre à être " moderne " ?</title><title xml:lang="fr" type="sub">L'expérience de la salle de cinéma à Pékin, fin des années 1910-début des années 1920</title><author role="aut"><persName><forename type="first">Anne</forename><surname>Kerlan</surname></persName><email>anne.kerlan@ihtp.cnrs.fr</email><idno type="halAuthorId">1041653</idno><affiliation ref="#struct-420"></affiliation></author></analytic><monogr><idno type="halJournalId" status="INCOMING">70435</idno><title level="j">Conserveries mémorielles</title><imprint><biblScope unit="volume">2012: Publics de cinéma. Pour une histoire des pratiques sociales</biblScope><biblScope unit="issue">12</biblScope><biblScope unit="pp">en ligne</biblScope><date type="datePub">2012-04-05</date></imprint></monogr></biblStruct></sourceDesc><profileDesc><langUsage><language ident="fr">French</language></langUsage><textClass><keywords scheme="author"><term xml:lang="en">China</term><term xml:lang="en">history of cinema</term><term xml:lang="en">modernity</term><term xml:lang="en">movie theater</term><term xml:lang="en">movie-going and movie-goers</term><term xml:lang="fr">histoire du cinéma</term><term xml:lang="fr">Chine</term><term xml:lang="fr">modernité</term><term xml:lang="fr">salle de spectacle</term><term xml:lang="fr">spectacle cinématographique</term></keywords><classCode scheme="halDomain" n="shs.hist">Humanities and Social Sciences/History</classCode><classCode scheme="halDomain" n="shs.art">Humanities and Social Sciences/Art and art history</classCode><classCode scheme="halTypology" n="ART">Journal articles</classCode></textClass><abstract xml:lang="en">Movie at its beginnings in China took over many places traditionally dedicated to Chinese culture (teahouse, gardens, theater and opera houses); however, it became very quickly obvious that movie screenings should be held in places that could mirror the novelty of the show, either by the architecture, the design of the room or by the etiquette. This was particularly true for theaters where western films were screened: going to see such films could be conceived as a global experience, a way to learn in all aspects the western modernity carried by these products. This article explains, through the study of a very special movie theater, the True Light Theater (Zhenguang xiyuan), how Beijing moviegoers borrowed the new, western, etiquette of the cinematographic shows. At the True Light, the manager introduced new rules of behavior that were modeled from an etiquette supposedly coming from the western movie theater. However, I will also explore how, if the True Light Theater was a place to experience the western modernity, Beijiners also locally adapted these news practices.</abstract><abstract xml:lang="fr">Si le cinéma des premiers temps, en Chine, a investi des lieux traditionnels de la culture chinoise (maisons de thé, jardins, salles de théâtre et d'opéra), l'idée s'est rapidement imposée que le spectacle cinématographique devait se dérouler en un lieu susceptible de refléter son entière nouveauté, tant dans l'architecture et l'aménagement intérieur de la salle, que dans les règles de conduite édictées pour le personnel comme pour les spectateurs. Ceci était particulièrement vrai des salles de cinéma projetant des films occidentaux, comme si aller voir un film américain, allemand ou français, était perçu comme un forme d'apprentissage global à la modernité occidentale que ces films exposaient. Cet article se propose d'étudier la façon dont le public de Pékin a adopté les nouveaux rites du spectacle cinématographique en étudiant l'histoire d'une salle très particulière, le théâtre Lumière véritable (Zhenguang xiyuan), lieu de mise en pratique de règles de conduites inspirées de celles supposées en vigueur dans les salles occidentales. Mais on verra aussi que si le spectacle cinématographique permettait une certaine expérience de la modernité occidentale, il n'en fut pas moins adapté localement par les spectateurs pékinois en fonction d'exigences propres aux milieux sociaux concernés.</abstract></profileDesc></hal></record>Pour manipuler ce document sous Unix (Dilib)
EXPLOR_STEP=$WICRI_ROOT/Wicri/Musique/explor/OperaV1/Data/Hal/Corpus
HfdSelect -h $EXPLOR_STEP/biblio.hfd -nk 000380 | SxmlIndent | more
Ou
HfdSelect -h $EXPLOR_AREA/Data/Hal/Corpus/biblio.hfd -nk 000380 | SxmlIndent | more
Pour mettre un lien sur cette page dans le réseau Wicri
{{Explor lien
|wiki= Wicri/Musique
|area= OperaV1
|flux= Hal
|étape= Corpus
|type= RBID
|clé= Hal:halshs-01009352
|texte= Aller au cinéma pour apprendre à être " moderne " ?
}}
| This area was generated with Dilib version V0.6.21. |  |