Subs: Separate english subtitleIMDB: http://www.imdb.com/title/tt0438500/SilentEra: http://www.silentera.com/PSFL/data/T/Tiyuhuanghou1934.htmlSeances: http://www.seances.org/fr/film.asp?id=9721French Review: http://www.hkmania.com/from.php?fromurl=http://www.hkmania.com/Dossiers/chinechaillot-reinedusport.htmlItalian Review: http://venus.unive.it/asiamed/cina/schede/queen.htmlA timeless classic from Sun Yu and Li Li-li, ahead of its time, even in today, it looks still so fresh and modern.I didn't add music accompaniment, so it's silent, you can also do it by yourself using virtualdub.The feisty and athletic Li Lili in a role tailored made for her: a young sprinter enrolling in a sports college in Shanghai. As she becomes a sports celebrity, she starts to mingle with the upper class and has almost forgotten the true essence of sports. Shot in a documentary style drawing influence from the Soviet contemporaries with spirited editing and storytelling, The Queen of Sport feels just as young and energetic today as it was 70 years ago. Its sub-plot on sports and fame still hits home today, especially with China's new superstars in sports. Glorifying Moving Parts: Symphonies of Modern Girls and Mass Transportation in 1930s Chinese City Films (Alisa Freedman, University of Chicago) The silent films of 1930s Shanghai both captured and exemplified the speed of moving parts. By the early twentieth century, Shanghai had evolved into a bustling, illuminated metropolis, filled with modern technological goods and entertainments, the physical presences of which dramatically illustrated the irreversible demise of long-held social patterns and behaviors and the inherent foreignness of this Chinese city. In this "Paris of the East," "capital of the tycoon," and "whore of Asia," mass transportation vehicles traversed the streets, modern girls enjoyed a greater public sphere, and domestic film industries and audience attendances grew. Steam trains, modern girls, and motion pictures conveyed the speed, shock, and spectacle of this historical moment characterized by unevenness between city and countryside, image and reality, and Western and Asian development. Women were often associated with both the progressive and oppressive transformations facilitated by machines in this age of mechanical reproduction, and the exaggerated traits of modern girls can be seen as analogous to the allure, energy, and fear of train travel and cinema spectatorship.A variety of female protagonists appeared on screen, playing roles ranging from angelic street urchins and prostitutes to athletic heroines. Confusion caused by the production of new signs and behaviors was literally projected upon overdetermined filmic representations of all classes of modern girls, who were perceived as symbols for the stimulation and unpredictability of the urban metropolis itself. The female body was often the battleground for the contestation between good and evil, morality and depravity, and innocence and corruption. The city was used as both a setting and a source for potentially harmful practices and ideologies which infected its population and could be more clearly diagnosed and examined through depictions of the daily lives of women.These themes are vividly illustrated in Sun Yu's Sports Queen (Ti yu huang hou), released in 1934 from Lianhua Studio. This silent film optimistically presented a city undergoing unprecedented change and the possibility for beneficial national development if technology, the crowds it helped bring together, and modern girls were controlled and directed to advance the collective, common good. In this, literally, motion picture, mobile female body parts, such as bare legs and arms and straight teeth, were provided extensive cinematic attention and equated filmically to mass transportation vehicles, including trains and boats, creating a symphony of composite components of a city on the move.Screenshot:
