In China, re’nao or ‘hot noise’ is the experience of being immersed within an active crowd. Traditionally it is associated with festivals, markets, and temples. The participatory and embodied nature of re’nao puts it at odds with the gaze of the alienated, individual spectator, and indeed re’nao has been described by scholars in terms that directly oppose it to the structure of modern spectatorship. How can the medium of film be used to represent or evoke re’nao? Might re’ nao-related works offer a ground for a critical or historical response to the advent of modern spectatorship? This paper examines the interplay between re’nao and spectatorship as it is dramatized by the mainland Chinese film, Shanghai Fever (股疯, 1994). The film documents the widespread speculation mania that followed the economic reforms and reinstitution of stock trading during the early 1990s, a pivotal moment in the development of postsocialism in China as state and society embraced the unfettered pursuit of private wealth. Serving as a key work of the economic imagination of its day, Shanghai Fever also represents a transformation in the regime of visuality thanks in part to its remediation of a new mass medium: the market ‘itself,’ as manifested in the system of stock price display screens ubiquitously installed across Shanghai and accompanied by the emergence of the new figure of the speculator-spectator. The co-arrival of finance capitalism along with an intensified form of spectatorship in everyday urban life is complicated by the de-stabilizing potential of re’nao, as the immersive social experience of heat and noise expose the irrationalities of the market and its alienating affects. I situate Shanghai Fever within a long tradition relating re’nao to the performativity of marketplaces to reveal the film’s deep ambivalence towards postsocialism. Moving beyond a thematic reading of re’nao’s role in the speculation mania of the early 1990s, I argue that film, by evoking re’nao in order to commodify it as entertainment, subverts the very structure of spectatorship upon which cinema depends. ‘Hot noise’ ultimately proves to be both a powerful form of cinematic attraction and anti-cinematic in its dispensation.
Read full abstract