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Exil Shanghai as Audio-Visual Archive and Cross-Cultural Collage
Intellect , 142 (2024); https://doi.org/10.1386/9781789389364_11
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References

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  4. Bickers, Robert (1999), ‘Britain in China: Community’, in Culture and Colonialism 1900–1949, Manchester: Manchester University Press.
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  6. Chang, Michael G. (1999), ‘The good, the bad, and the beautiful: Movie actresses and public discourse in Shanghai, 1920s–1930s’, in Yingjin Zhang (ed.), Cinema and Urban Culture in Shanghai 1922-1943, Stanford: Stanford Univrsity Press, pp. 128–59.
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  7. Currid, Brian (2000), ‘A song goes round the world: The German Schlager, as an organ of experience’, Popular Music, 19:2, pp. 147–80.
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  8. Derrida, Jacques (2017), Archive Fever: A Freudian Impression, Reprint Edition, Chicago: University of Chicago Press.
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  10. Eber, Irene (ed.) (2008), Voices from Shanghai: Jewish Exiles in Wartime China, Chicago: The University of Chicago Press.
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  13. Graf, Hans-Dieter (2021), ‘Kämpfer gegen das Vergessen: Raymond Wolff gestorben’, Allgemeine Zeitung, 3 May, https://www.allgemeine-zeitung.de/lokales/mainz/vg-bodenheim/nackenheim/kampfer-gegen-das-vergessen-raymond-wolff-gestorben_23624125. Accessed 16 April 2022.
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  15. Harjes, Kirsten and Tanja, Nusser (2000), ‘An authentic experience of history: tourism in Ulrike Ottinger's Exil Shanghai’, Women in German Yearbook: Feminist Studies in German Literature and Culture, 15:1, pp. 247–63.
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  16. Harvey, Dennis (1997), ‘Exile Shanghai’, Variety, 5 May, https://variety.com/1997/film/reviews/exile-shanghai-1200450007/. Accessed 16 April 2022.
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  17. Hong, Guo-Juin (2009), ‘Meet me in Shanghai: Melodrama and the cinematic production of space in 1930s Shanghai leftist films’, Journal of Chinese Cinemas, 3:3, pp. 215–30.
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  18. Jakubowicz, Andrew (2009), ‘Cosmopolitanism with roots: The Jewish presence in Shanghai before the Communist Revolution and as a brand in the new metropolis’, in S. Hemelryk Donald, E. Kofman and C. Klein (eds), Branding Cities: Cosmopolitanism, Parochialism, and Social Change, London and New York: Routledge, pp. 156–71.
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  20. Jones, Andrew (2001), Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age, Durham, NC: Duke University Press.
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  21. Kranzler, David (1976), Japanese, Nazis & Jews: the Jewish Refugee Community of Shanghai 1938–1945, New York: Yeshiva University Press.
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  22. Krasno, Rena (1992), Strangers Always: A Jewish Family in Wartime Shanghai, Berkeley: Pacific View Press.
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  23. Lee, Leo Ou-fan (1999), Shanghai Modern: The Flowering of a New Urban Culture in China, 1930–1945, Cambridge, MA.: Harvard University Press.
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  24. Loacker, Armin and Martin Prucha (1999), ‘Österreichisch-deutsche Filmbeziehungen und die unabhängige Spielfilmproduktion 1933–1937’, Modern Austrian Literature, 32:4, pp. 87–117.
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  25. Lyons, Erica (2022), ‘Animating Jewish-Chinese friendship: A story of lasting friendship’, Asian Jewish Life: A Journal of Spirit, Society and Culture, http://asianjewishlife.org/pages/articles/summer2010/AJL_CoverStory_AnimatingRelationships.html. Accessed 17 April 2022.
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  26. Ma, Jean (2015), Sounding the Modern Woman: The Songstress in Chinese Cinema, Durham, NC: Duke University Press.
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  27. Meyer, Eva (2007), ‘Ulrike Ottinger's chronicle of time’, After All: A Journal of Art, Context, and Enquiry, 16, pp. 39–44.159
     [Google Scholar]
  28. Michaels, Jennifer E. (2019), ‘Restoring and utilizing the past: The Shanghai Jewish Refugees Museum’, in Amy K. Levin (ed.), Global Mobilities: Refugees, Exile, and Immigrants in Museums and Archives, London and New York: Routledge, pp. 205–22.
     [Google Scholar]
  29. Michaels, Jennifer E. (2020), ‘Shanghai: city of sin – city of hope: Representations of Shanghai in memoirs by Jewish exiles and in literary texts about the diaspora,’ in Lisa Bernstein and Chueh Cheng (eds), Revealing/Reveiling Shanghai. Cultural Representations from the Twentieth and Twenty-First Century, New York: SUNY Press, pp. 123–42.
     [Google Scholar]
  30. Ottinger, Ulrike (dir.) (1997), Exil Shanghai, Germany: Ulrike Oettinger Filmproduktion and Transfax Film Productions.
  31. Prakash, Shambhavi (2018), ‘Representations of Jewish exile and models of memory in Shanghai Ghetto and Exil Shanghai’, in Joanne Miyang Cho (ed.), Transnational Encounters between Germany and East Asia since 1900, London and New York: Routledge, pp. 62–81.
     [Google Scholar]
  32. Pscheiden, Daniela and Danielle Spera (eds.) (2020), Die Wiener in China: Fluchtpunkt Shanghai/Little Vienna in Shanghai, Vienna: Jüdisches Museum Wien, Amalthea Signum Verlag.
     [Google Scholar]
  33. Rickels, Laurence (2008), Ulrike Ottinger: The Autobiography of Art Cinema, Minneapolis, and London: University of Minnesota Press.
     [Google Scholar]
  34. Ristaino, Marcia Reynders (2002), Port of Last Resort: The Diaspora Communities of Shanghai, Stanford: Stanford University Press.
     [Google Scholar]
  35. Rosdy, Paul (2020), ‘Shanghai – Kamera ab’, in Daniela Pscheiden and Danielle Spera (eds), Die Wiener in China: Fluchtpunkt Shanghai: Little Vienna in Shanghai, Vienna: Jüdisches Museum Wien/Amalthea Signum Verlag, pp. 66–73.
     [Google Scholar]
  36. Rothberg, Michael (2019), The Implicated Subject: Beyond Victims and Perpetrators, Stanford: Stanford Univesity Press.
     [Google Scholar]
  37. Shanghai Jewish Refugee Museum (2022), ‘About us’, https://www.shhkjrm.com/node2/n4/n6/n30/n39/index_K76.html. Accessed 17 April 2022.
  38. Sieglohr, Ulrike (2020), ‘Two women filmmakers: Ulrike Ottinger and Angela Schanelec’, in T. Bergfelder, E. Carter, D. Göktürk and C. Sandberg (eds.), The German Cinema Book, 2nd ed., London: British Film Institute, pp. 218–27.
     [Google Scholar]
  39. Sino-Judaic Institute (2022), Homepage, https://sinojudaic.org/officers. Accessed 17 April 2022.
  40. Spunt, Georges (1967), Memoirs and Menus: The Confessions of a Culinary Snob, Boston: Chilton Books.
     [Google Scholar]
  41. Spunt, Georges (1968), A Place in Time, New York: G.P. Putnam's Sons.
     [Google Scholar]
  42. Stock, Jonathan (1995), ‘Reconsidering the past: Zhou Xuan and the rehabilitation of early twentieth-century popular music’, Asian Music, 26: 2, pp. 119–35.
     [Google Scholar]
  43. Thirault, Philippe and Jorge Miguel (2019), Shanghai Dream, Los Angeles: Humanoids Inc.
     [Google Scholar]
  44. Trumpener, Katie (1993), ‘Johanna d'Arc of Mongolia in the mirror of Dorian Gray: Ethnographic recordings and the aesthetics of the market in the recent films of Ulrike Ottinger’, New German Critique, 60, Special Issue: ‘German Film History’, pp. 77–99.
     [Google Scholar]
  45. Tryster, Hillel (1995), ‘The land of promise (1935): A case study in Zionist film propaganda’, Historical Journal of Film, Radio and Television, 15:2, pp. 187–217.160
     [Google Scholar]
  46. Tsang, Gabriel F. Y. (2020) ‘The architectural structure of prewar Shanghai: Analysis of the longtang setting in Street Angel (1937)’, in Lisa Bernstein and Chu Chueh Cheng (eds.), Revealing/Reveiling Shanghai: Cultural Representations from the Twentieth and Twenty-First Century, New York: SUNY Press, pp. 37–52.
     [Google Scholar]
  47. Tuohy, Sue (1999), ‘Metropolitan sounds: Music in Chinese films of the 1930s’, in Yingjin Zhang (ed.), Cinema and Urban Culture in Shanghai 1922–1943, Stanford: Stanford University Press, pp. 200–21.
     [Google Scholar]
  48. Villarejo, Amy (2002), ‘Archiving the diaspora: A lesbian impression of/in Ulrike Ottinger's Exile Shanghai’, New German Critique, 87, Special Issue: ‘Postwall Cinema’, pp. 157–91.
     [Google Scholar]
  49. Wagenstein, Angel (2007), Farewell Shanghai, New York: Handsel Press.
     [Google Scholar]
  50. Whissell, Kirsten (1996), ‘Racialized spectacle, exchange relations, and the western in Johanna d'Arc of Mongolia’, Screen, 37:1, pp. 41–67.
     [Google Scholar]
  51. Wulff, Hans J. (2010), ‘“Ein Lied geht um die Welt” (1933/1958): Wandlungen des Sängerfilms oder Der Sänger Joseph Schmidt als Genrefigur und als historische Person’, Lied und populäre Kultur (Song and Popular Culture), 55, pp. 199–208.
     [Google Scholar]
  52. Yeh, Yueh-yuh (2002), ‘Historiography and sinification: Music in Chinese cinema of the 1930s, Cinema Journal, 41:3, pp. 78–97.
     [Google Scholar]

References

  1. Barzel, Amnon et al. (1997), Leben im Wartesaal – Exil in Shanghai 1938–1947, Berlin: Schriften des Jüdischen Museums, Jüdisches Museum im Stadtmuseum Berlin.
     [Google Scholar]
  2. Bei, Gao (2013), Shanghai Sanctuary: Chinese and Japanese Policy toward European Jewish Refugees during World War II, Oxford and New York: Oxford University Press.
     [Google Scholar]
  3. Bernstein, Lisa and Chu Chueh Cheng (eds) (2020), Revealing/Reveiling Shanghai: Cultural Representations from the Twentieth and Twenty-First Century, New York: SUNY Press.
     [Google Scholar]
  4. Bickers, Robert (1999), ‘Britain in China: Community’, in Culture and Colonialism 1900–1949, Manchester: Manchester University Press.
     [Google Scholar]
  5. Bickers, Robert (2012), The Scramble for China: Foreign Devils in the Qing Empire 1832–1914, London: Penguin Books.
     [Google Scholar]
  6. Chang, Michael G. (1999), ‘The good, the bad, and the beautiful: Movie actresses and public discourse in Shanghai, 1920s–1930s’, in Yingjin Zhang (ed.), Cinema and Urban Culture in Shanghai 1922-1943, Stanford: Stanford Univrsity Press, pp. 128–59.
     [Google Scholar]
  7. Currid, Brian (2000), ‘A song goes round the world: The German Schlager, as an organ of experience’, Popular Music, 19:2, pp. 147–80.
     [Google Scholar]
  8. Derrida, Jacques (2017), Archive Fever: A Freudian Impression, Reprint Edition, Chicago: University of Chicago Press.
     [Google Scholar]
  9. Detre, Laura (2020), ‘Joseph Schmidt and Czernowitz: A story of ethnic fluidity’, Journal of Austrian Studies, 53:3, pp. 63–70.
     [Google Scholar]
  10. Eber, Irene (ed.) (2008), Voices from Shanghai: Jewish Exiles in Wartime China, Chicago: The University of Chicago Press.
     [Google Scholar]
  11. Eber, Irene (2012), Wartime Shanghai and the Jewish Refugees from Central Europe: Survival, Co-Existence, and Identity in a Multi-Ethnic City, Berlin and Boston: Walter de Gruyter GmbH & Co. KG.158
     [Google Scholar]
  12. Fischer, Jens-Malte (1993), Grosse Stimmen: Von Enrico Caruso bis Jessye Norman, Stuttgart: J. B. Metzler.
     [Google Scholar]
  13. Graf, Hans-Dieter (2021), ‘Kämpfer gegen das Vergessen: Raymond Wolff gestorben’, Allgemeine Zeitung, 3 May, https://www.allgemeine-zeitung.de/lokales/mainz/vg-bodenheim/nackenheim/kampfer-gegen-das-vergessen-raymond-wolff-gestorben_23624125. Accessed 16 April 2022.
     [Google Scholar]
  14. Hansen, Miriam Bratu (2000), ‘Fallen women, rising stars, new horizons: Shanghai silent film as vernacular modernism’, Film Quarterly, 54:1, pp. 10–22.
     [Google Scholar]
  15. Harjes, Kirsten and Tanja, Nusser (2000), ‘An authentic experience of history: tourism in Ulrike Ottinger's Exil Shanghai’, Women in German Yearbook: Feminist Studies in German Literature and Culture, 15:1, pp. 247–63.
     [Google Scholar]
  16. Harvey, Dennis (1997), ‘Exile Shanghai’, Variety, 5 May, https://variety.com/1997/film/reviews/exile-shanghai-1200450007/. Accessed 16 April 2022.
     [Google Scholar]
  17. Hong, Guo-Juin (2009), ‘Meet me in Shanghai: Melodrama and the cinematic production of space in 1930s Shanghai leftist films’, Journal of Chinese Cinemas, 3:3, pp. 215–30.
     [Google Scholar]
  18. Jakubowicz, Andrew (2009), ‘Cosmopolitanism with roots: The Jewish presence in Shanghai before the Communist Revolution and as a brand in the new metropolis’, in S. Hemelryk Donald, E. Kofman and C. Klein (eds), Branding Cities: Cosmopolitanism, Parochialism, and Social Change, London and New York: Routledge, pp. 156–71.
     [Google Scholar]
  19. Jones, Andrew F. (1992), Like A Knife: Ideology and Genre in Contemporary Chinese Popular Music, Ithaca: Cornell University Press.
     [Google Scholar]
  20. Jones, Andrew (2001), Yellow Music: Media Culture and Colonial Modernity in the Chinese Jazz Age, Durham, NC: Duke University Press.
     [Google Scholar]
  21. Kranzler, David (1976), Japanese, Nazis & Jews: the Jewish Refugee Community of Shanghai 1938–1945, New York: Yeshiva University Press.
     [Google Scholar]
  22. Krasno, Rena (1992), Strangers Always: A Jewish Family in Wartime Shanghai, Berkeley: Pacific View Press.
     [Google Scholar]
  23. Lee, Leo Ou-fan (1999), Shanghai Modern: The Flowering of a New Urban Culture in China, 1930–1945, Cambridge, MA.: Harvard University Press.
     [Google Scholar]
  24. Loacker, Armin and Martin Prucha (1999), ‘Österreichisch-deutsche Filmbeziehungen und die unabhängige Spielfilmproduktion 1933–1937’, Modern Austrian Literature, 32:4, pp. 87–117.
     [Google Scholar]
  25. Lyons, Erica (2022), ‘Animating Jewish-Chinese friendship: A story of lasting friendship’, Asian Jewish Life: A Journal of Spirit, Society and Culture, http://asianjewishlife.org/pages/articles/summer2010/AJL_CoverStory_AnimatingRelationships.html. Accessed 17 April 2022.
     [Google Scholar]
  26. Ma, Jean (2015), Sounding the Modern Woman: The Songstress in Chinese Cinema, Durham, NC: Duke University Press.
     [Google Scholar]
  27. Meyer, Eva (2007), ‘Ulrike Ottinger's chronicle of time’, After All: A Journal of Art, Context, and Enquiry, 16, pp. 39–44.159
     [Google Scholar]
  28. Michaels, Jennifer E. (2019), ‘Restoring and utilizing the past: The Shanghai Jewish Refugees Museum’, in Amy K. Levin (ed.), Global Mobilities: Refugees, Exile, and Immigrants in Museums and Archives, London and New York: Routledge, pp. 205–22.
     [Google Scholar]
  29. Michaels, Jennifer E. (2020), ‘Shanghai: city of sin – city of hope: Representations of Shanghai in memoirs by Jewish exiles and in literary texts about the diaspora,’ in Lisa Bernstein and Chueh Cheng (eds), Revealing/Reveiling Shanghai. Cultural Representations from the Twentieth and Twenty-First Century, New York: SUNY Press, pp. 123–42.
     [Google Scholar]
  30. Ottinger, Ulrike (dir.) (1997), Exil Shanghai, Germany: Ulrike Oettinger Filmproduktion and Transfax Film Productions.
  31. Prakash, Shambhavi (2018), ‘Representations of Jewish exile and models of memory in Shanghai Ghetto and Exil Shanghai’, in Joanne Miyang Cho (ed.), Transnational Encounters between Germany and East Asia since 1900, London and New York: Routledge, pp. 62–81.
     [Google Scholar]
  32. Pscheiden, Daniela and Danielle Spera (eds.) (2020), Die Wiener in China: Fluchtpunkt Shanghai/Little Vienna in Shanghai, Vienna: Jüdisches Museum Wien, Amalthea Signum Verlag.
     [Google Scholar]
  33. Rickels, Laurence (2008), Ulrike Ottinger: The Autobiography of Art Cinema, Minneapolis, and London: University of Minnesota Press.
     [Google Scholar]
  34. Ristaino, Marcia Reynders (2002), Port of Last Resort: The Diaspora Communities of Shanghai, Stanford: Stanford University Press.
     [Google Scholar]
  35. Rosdy, Paul (2020), ‘Shanghai – Kamera ab’, in Daniela Pscheiden and Danielle Spera (eds), Die Wiener in China: Fluchtpunkt Shanghai: Little Vienna in Shanghai, Vienna: Jüdisches Museum Wien/Amalthea Signum Verlag, pp. 66–73.
     [Google Scholar]
  36. Rothberg, Michael (2019), The Implicated Subject: Beyond Victims and Perpetrators, Stanford: Stanford Univesity Press.
     [Google Scholar]
  37. Shanghai Jewish Refugee Museum (2022), ‘About us’, https://www.shhkjrm.com/node2/n4/n6/n30/n39/index_K76.html. Accessed 17 April 2022.
  38. Sieglohr, Ulrike (2020), ‘Two women filmmakers: Ulrike Ottinger and Angela Schanelec’, in T. Bergfelder, E. Carter, D. Göktürk and C. Sandberg (eds.), The German Cinema Book, 2nd ed., London: British Film Institute, pp. 218–27.
     [Google Scholar]
  39. Sino-Judaic Institute (2022), Homepage, https://sinojudaic.org/officers. Accessed 17 April 2022.
  40. Spunt, Georges (1967), Memoirs and Menus: The Confessions of a Culinary Snob, Boston: Chilton Books.
     [Google Scholar]
  41. Spunt, Georges (1968), A Place in Time, New York: G.P. Putnam's Sons.
     [Google Scholar]
  42. Stock, Jonathan (1995), ‘Reconsidering the past: Zhou Xuan and the rehabilitation of early twentieth-century popular music’, Asian Music, 26: 2, pp. 119–35.
     [Google Scholar]
  43. Thirault, Philippe and Jorge Miguel (2019), Shanghai Dream, Los Angeles: Humanoids Inc.
     [Google Scholar]
  44. Trumpener, Katie (1993), ‘Johanna d'Arc of Mongolia in the mirror of Dorian Gray: Ethnographic recordings and the aesthetics of the market in the recent films of Ulrike Ottinger’, New German Critique, 60, Special Issue: ‘German Film History’, pp. 77–99.
     [Google Scholar]
  45. Tryster, Hillel (1995), ‘The land of promise (1935): A case study in Zionist film propaganda’, Historical Journal of Film, Radio and Television, 15:2, pp. 187–217.160
     [Google Scholar]
  46. Tsang, Gabriel F. Y. (2020) ‘The architectural structure of prewar Shanghai: Analysis of the longtang setting in Street Angel (1937)’, in Lisa Bernstein and Chu Chueh Cheng (eds.), Revealing/Reveiling Shanghai: Cultural Representations from the Twentieth and Twenty-First Century, New York: SUNY Press, pp. 37–52.
     [Google Scholar]
  47. Tuohy, Sue (1999), ‘Metropolitan sounds: Music in Chinese films of the 1930s’, in Yingjin Zhang (ed.), Cinema and Urban Culture in Shanghai 1922–1943, Stanford: Stanford University Press, pp. 200–21.
     [Google Scholar]
  48. Villarejo, Amy (2002), ‘Archiving the diaspora: A lesbian impression of/in Ulrike Ottinger's Exile Shanghai’, New German Critique, 87, Special Issue: ‘Postwall Cinema’, pp. 157–91.
     [Google Scholar]
  49. Wagenstein, Angel (2007), Farewell Shanghai, New York: Handsel Press.
     [Google Scholar]
  50. Whissell, Kirsten (1996), ‘Racialized spectacle, exchange relations, and the western in Johanna d'Arc of Mongolia’, Screen, 37:1, pp. 41–67.
     [Google Scholar]
  51. Wulff, Hans J. (2010), ‘“Ein Lied geht um die Welt” (1933/1958): Wandlungen des Sängerfilms oder Der Sänger Joseph Schmidt als Genrefigur und als historische Person’, Lied und populäre Kultur (Song and Popular Culture), 55, pp. 199–208.
     [Google Scholar]
  52. Yeh, Yueh-yuh (2002), ‘Historiography and sinification: Music in Chinese cinema of the 1930s, Cinema Journal, 41:3, pp. 78–97.
     [Google Scholar]

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