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date: 15 September 2019

Abstract and Keywords

This article suggests ways in which the notion of cinema as vernacular modernism could be useful to the project of writing transnational film history, and presents examples from Japanese and Chinese films of the 1930s to show how vernacular modernism can be productive as a critical term. It considers the films Forget Love for Now, Every Night Dreams, and Shennü: The Goddess, which look at themes of motherhood and prostitution. The framework provided in the discussion framework could be made productive for cinemas in other parts of the world, with different historical trajectories of capitalist modernization, everyday modernity, and aesthetic modernism.

Keywords: vernacular modernism, transnational film history, prostitution, motherhood, Forget Love, Every Night Dreams

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