|Other Titles:||The Pictorial Magazine Liangyou and the Overseas Chinese Network: The History of "Shanghai" Popular Culture as Seen from Its Relationship with Hong Kong and the Overseas Chinese Sphere|
|Author's alias:||MURAI, Hiroshi|
|Abstract:||This article primarily considers the socio-economic background of the media in the case of the pictorial magazine Liangyou 『良友』, which is known to have been replete with images representing modern Shanghai. Around its staff, capital, and expanding market. When Liangyou was launched, the publishing company, Liangyou Gongsi, was under the strong influence of a network of people from Taishan, the hometown of the founder, Wu Liande 伍聯德, and his alma mater, the Lingnan School 嶺南. The network centered on people from Taishan, Where many emigrants were produced, and the many overseas Chinese who had studied at the Lingnan School spread across the seas under the impetus of Wu Liande's travels abroad, and those living in Hong Kong and overseas Chinese in the United States occupied a prominent place among its stock holders. After sales of Liangyou stabilized, the circulation expanded beyond the limits of Wu's personal efforts. In contrast, a shift in the emphasis towards domestic matters began to be seen in the Liangyou of the 1930s, accompanying its expansion in the domestic market. This brought about a strengthening of the relationship with leftist authors of the New Literature movement and marked at the same time the beginning of a new page in the history of the Liangyou Gongsi 良友公司. Expanding the perspective, one sees that the department stores, films and other industries that symbolize the modernity in the popular culture of Shanghai between the two world wars all first appeared within the context of the network of overseas Chinese from Guangdong, and the appearance of the pictorial magazine Liangyou can be placed within this tread. Here is created the task of resituating cultural production of Shanghai of the 1920s and 1930s within the sphere of Hong Kong and overseas Chinese throughout the world. This study can be situated as one portrait within a series of efforts to depict the history of Chinese modern popular culture centered on the two cities of Hong Kong and Shanghai, where the worlds of the overseas and domestic Chinese were complexly intertwined.|
|Appears in Collections:||66巻1号|
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