本书在尽力挖掘中国电影的全部现象和事实的基础上进入1897至1921年期间的历史现场，从本土观众的视觉经验、政治诉求、文化认同出发，探寻电影作为多元文化交融和汇聚的节点，如何在都市生活的循环与变迁中被挪用和误读，逐渐从一种外来的新奇娱乐成为观看者共享的公共领域；本谓人又如何进行创造性的表意实践，让中国电影从结构和功能方面获得命名。概言之，华洋杂陈的半殖民都市以混杂的空间、多元的媒介和无名的大众，为电影提供了全新的时空语境。在此，作为外来杂耍的电影消除了异质性特征，与本土的社会期待、政治需求结合起来，获得独一无二的民族身份和产业地位。

On the basis of trying to explore all the phenomena and facts of Chinese cinema, this book enters the historical scene from 1897 to 1921, starting from the visual experience, political demands and cultural identity of local audiences, exploring how film, as a node of multicultural integration and convergence, was appropriated and misinterpreted in the cycle and change of urban life, and gradually changed from an exotic novel entertainment to a public sphere shared by viewers. How did this predicate people carry out creative ideographic practices, so that Chinese films were named in terms of structure and function. In short, the semi-colonial city of Huayang provides a new temporal and spatial context for the film with mixed space, diversified media and nameless public. Here, as a foreign juggler, the film eliminates the characteristics of heterogeneity and combines with local social expectations and political needs to obtain a unique national identity and industrial status.（AI翻译）

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