notes
Introduction
1 Hua yang nianhua (In the Mood for Love).
2 Chang xiang si (All-Consuming Love).
3 This translation is from Deppman, Adapted for the Screen, 206, note 19. As Deppman
points out, Zhou Xuan herself fled from Shanghai to Hong Kong in 1946, returning
to the mainland in 1950 and remaining there until her death in 1957 at the age of
thirty- nine. Ironically, the song was banned from Hong Kong’s airwaves in the 1960s,
possibly for the po liti cal subtext of its lyrics, with their references to the mainland
(the “lovely country”) and pro- Kuomindang patriotism. See K. Wong, The Age of
Shanghainese Pops, 29.
4 The film’s casting of the well- known émigré singing star Rebecca Pan in the role of
the landlady Mrs. Suen further emphasizes the Shanghainese presence in postwar
Hong Kong.
5 The term punctum comes from Barthes, Camera Lucida.
6 Se jie (Lust, Caution).
7 Malu tianshi (Street Angel).
8 Dong (The Hole).
9 For a detailed discussion of this film’s songstress references, see J. Ma, “Delayed
Voices.”
10 Indeed, this symbiosis even predates sound cinema: the great silent film star Ruan
Lingyu, Jones points out, was a recording artist in Hong Kong’s pop u lar music indus-
try prior to her acting career (Yellow Music, 67).
11 Jones, Yellow Music; Touhy, “Metropolitan Sounds”; Yeh Y., Gesheng meiying;
Zhang Z., An Amorous History of the Silver Screen, chapter 8; J. Ma and Johnson,
“Sound and Music.”
12 For an overview of Chinese opera films (focusing on productions from the People’s
Republic of China), see Iovene and Zeitlin, “Chinese Opera Film.” Chapter 2 contains
a more detailed account of opera films and the conventions of song per for mance,
including specific examples.
13 Y. Yeh, “Historiography and Sinification,” 79.
14 The parallels between the two films are discussed in Harris, “Two Stars on the Silver
Screen.”
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