By Robert A. Nelson
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Extra resources for A sequel to The art of cold reading
As in a traditional theater, men and women were required to sit in separate seats, and the police was routinely invited inside to keep order (Hou 1996). In terms of creature comfort, these tents were worse than noisy theaters, and it was not long before enterprising businessmen started to invest in movie theaters in China. 2 As with most other cinemas to come, the venue was foreignowned and served mostly foreign patrons (ZDZ 1996a: 177). A year later, buttressed by a steady income from teahouse screenings, Ramos completed the Hongkou Cinema in Shanghai, a simple sheet-iron structure of 250 hard seats, yet the ﬁrst among dozens of modern theaters to be erected in the treaty port in the following decades (S.
A more reliable source of income came from the sales to Southeast Asia, where comedies were popular among the less educated Chinese diaspora. Yaxiya’s fortune ran out as the outbreak of World War I in 1914 interrupted the supply of German ﬁlm stock (ZDZ 1996a: 1388–91). Zhang returned to manage Minming in addition to his uncle’s amusement park, but he resumed ﬁlm activities when American ﬁlm stock arrived in 1916. With a few friends, he raised 6,000 yuan and established Huanxian. Since Wronged Ghosts in Opium Den continued to play to a capacity audience in Shanghai, Zhang rented equipment from Louros and directed a 5-reeler of the same title.
Together with Sea Oath (Haishi, dir. Dan Duyu; 6 reels), these three earliest Chinese feature-length ﬁlms were all produced in 1921. , ﬁlms set in contemporary life) cover a range of possible genres, as illustrated by the three long features cited above. Yan Ruisheng, an adaptation of Zheng Zhengqiu’s popular civilized play, was based on a sensational real-life case in which a renowned courtesan was murdered for money in 1920. Incidentally, Yan the real-life perpetrator admitted in court that foreign crime ﬁlms had inﬂuenced his behavior (J.