%0 Journal Article
%T Aller au cin¨¦ma pour apprendre ¨¤ ¨ºtre   moderne   ? Movie-going as a way to learn to be ¡°modern¡±? The experience of the movie theater in Beijing: end of the 1910¡¯s ¨C beginning of the 1920¡¯s.
%A Anne Kerlan
%J Conserveries M¨¦morielles : Revue Transdisciplinaire de Jeunes Chercheurs
%D 2012
%I Conserveries M¨¦morielles
%X Si le cin¨¦ma des premiers temps, en Chine, a investi des lieux traditionnels de la culture chinoise (maisons de th¨¦, jardins, salles de th¨¦atre et d¡¯op¨¦ra), l¡¯id¨¦e s¡¯est rapidement impos¨¦e que le spectacle cin¨¦matographique devait se d¨¦rouler en un lieu susceptible de refl¨¦ter son enti¨¨re nouveaut¨¦, tant dans l¡¯architecture et l¡¯am¨¦nagement int¨¦rieur de la salle, que dans les r¨¨gles de conduite ¨¦dict¨¦es pour le personnel comme pour les spectateurs. Ceci ¨¦tait particuli¨¨rement vrai des salles de cin¨¦ma projetant des films occidentaux, comme si aller voir un film am¨¦ricain, allemand ou fran ais, ¨¦tait per u comme un forme d¡¯apprentissage global ¨¤ la modernit¨¦ occidentale que ces films exposaient. Cet article se propose d¡¯¨¦tudier la fa on dont le public de P¨¦kin a adopt¨¦ les nouveaux rites du spectacle cin¨¦matographique en ¨¦tudiant l¡¯histoire d¡¯une salle tr¨¨s particuli¨¨re, le th¨¦atre Lumi¨¨re v¨¦ritable (Zhenguang xiyuan), lieu de mise en pratique de r¨¨gles de conduite inspir¨¦es de celles suppos¨¦es en vigueur dans les salles occidentales. Mais on verra aussi que si le spectacle cin¨¦matographique permettait une certaine exp¨¦rience de la modernit¨¦ occidentale, il n¡¯en fut pas moins adapt¨¦ localement par les spectateurs p¨¦kinois en fonction d¡¯exigences propres aux milieux sociaux concern¨¦s.   Movie at its beginnings in China took over many places traditionally dedicated to Chinese culture (teahouse, gardens, theater and opera houses); however, it became very quickly obvious that movie screenings should be held in places that could mirror the novelty of the show, either by the architecture, the design of the room or by the etiquette. This was particularly true for theaters where western films were screened: going to see such films could be conceived as a global experience, a way to learn in all aspects the western modernity carried by these products. This article explains, through the study of a very special movie theater, the True Light Theater (Zhenguang xiyuan), how Beijing moviegoers borrowed the new, western etiquette of the cinematographic shows. At the True Light, the manager introduced new rules of behavior that were modeled from an etiquette supposedly coming from the western movie theater. However, I will also explore how, if the True Light Theater was a place to experience the western modernity, Beijiners also locally adapted these news practices.
%K modernity
%K China
%K history of cinema
%K movie theater
%K movie-going and movie-goers
%K modernit¨¦
%K Chine
%K histoire du cin¨¦ma
%K salles de th¨¦atre
%K spectacle cin¨¦matographique
%K Chine r¨¦publicaine (1911-1949)
%U http://cm.revues.org/1108