Abstract
Among the numerous studies on the history of early Chinese films, film derivatives, as a part of it, have been neglected to some degree. Even worse, there are fewer studies on the material media with an archaeological concept. To fill this void, this paper adopted the column "The World of Screen" of the Pei-yang Pictorial News from 1933 to 1934 and the photo copperplate printing and zincography used as the object of study. Based on the research approaches of media archaeology (materiality, heterogeneity and reproduction), this study investigated the involvement of film promotion in the process of social cognitive shaping under new technologies, and highlighted the new graphic design, the image of the naked women and aesthetic changes brought about by film promotion from the perspectives of sensory extension, reading space expansion and power distribution. Finally, the study attempted to clarify the resurgence and rupture of media logic from the remnants of theatrical posters and the emergence of electronic advertising via modern concerns.
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