E. Yeh, New Takes on Film Historiography: Republican cinema redux, an introduction, Journal of Chinese Cinemas, vol.9, issue.1, pp.1-7, 2015.

E. Yeh, Translating Yingxi: Chinese Film Genealogy and Early Cinema in Hong Kong, Journal of Chinese Cinemas, p.77

B. Chris and M. Farquhar, China on Screen: Cinema and Nation, pp.47-56, 2006.

. Zhang-zhen, An Amorous History of the Silver Screen: Shanghai Cinema, pp.1896-1937, 2005.

T. Gunning, An Aesthetic of Astonishment: Early Film and the (In)Credulous Spectator, Art and Text, vol.34, pp.114-133, 1989.

B. Weihong and F. Cinema, The Emergence of an Affective Medium in China, pp.1915-1945, 2015.

L. Pang, Building a New China in Cinema: The Chinese Left-Wing Cinema Movement, p.148, 2002.

R. Bergeron and L. Cinéma, , pp.1905-1949, 1977.

C. Xiaomei, 1995) underscores the positive effects of using the "Other" as an inspirational force to empower the subjected peoples, Occidentalism: A Theory of Counter-discourse in Post-Mao China

A. Kerlan, -. Stephens, and M. Quiquemelle, La compagnie cinématographique Lianhua et le cinéma progressiste chinois: 1930-1937, Arts Asiatiques, p.5, 2006.

N. Brown, S. Society, and . Teo, Il genere wenyi : una esegesi del melodramma cinese, New Chinese Cinemas: Forms, Identities, Politics, pp.40-56, 1993.

. Zhang-zhen, It is necessary to note that since melodrama is to some degree a foreign concept, the Chinese translation is shifting, An Amorous History of the Silver Screen: Shanghai Cinema, vol.30, pp.1896-1937

S. Sun and Y. , Note that the "traditional" chop-suey dish is not traditional at all, but instead a "construction" of the Chinese diaspora; see Gregory B. Lee, Chinas Unlimited: Making the Imaginaries of China and Chineseness, Floating on the Screen: Memories of My Life (Yinhai fanzhou -huiyi wo de yisheng ), 1987.

A. Kerlan, -. Stephens, and M. Quiquemelle, La compagnie cinématographique Lianhua et le cinéma progressiste chinois: 1930-1937, Arts Asiatiques, p.11, 2006.

S. Geng, The Fragile Scholar: Power and Masculinity in Chinese Culture, 1997.

, Sun's commitment to both social progress and cinematic innovation led him to create a particular fi lm language that may be called "unoffi cial/popular discourse," which for my purpose, may be reformulated as "vernacular discourse, Zhang Zhen, An Amorous History of the Silver Screen: Shanghai Cinema, pp.296-297

L. Hutcheon, A Theory of Adaptation, 2006.

A. Cheng, Le souffl e chinois, Cahiers du cinéma, 2003.

W. F. Bao and . Cinema, The Emergence of an Affective Medium in China, pp.1915-1945, 2015.

C. Berry and M. Farquhar, China on Screen: Cinema and Nation, 2006.

, Pang, Laikwan. Building a New China in Cinema. The Chinese Left-Wing Cinema Movement, pp.1932-1937, 2002.

, The Oxford Handbook of Chinese Cinemas, 2013.

Y. Zhang, A Companion to Chinese Cinema, 2012.

Z. Zhang, An Amorous History of the Silver Screen: Shanghai Cinema, pp.1896-1937, 2005.