Study On Historical Exchange Of Cinema Between China And The Korean Peninsula(1896-1953)

This paper will place the cinema exchange history under the perspective of history,culturology,communication and other multi-disciplinary research,in the framework of Co Construction within film history,film theory and film criticism,trace back to the dialogue and development of China and the Korean Peninsula's early films in the special historical context.First,considering sort out a linear development line from 1896 to 1953 in a vertical temporal dimension,on this basis,analyze,investigate and prove the situation and characteristics of the filmmakers,cinematographic works,film trends and film genres of the two places in the context of that time,then refine the cinema exchange of this period into five stages.Second,combine the situation of film ecology at each stage,extending the uniqueness of each cinema exchange history in the transverse direction,excavating the reason of success or failure,and to explore the relationship between the process of cinema exchange's formation and filmmaker's identity,creative style and form,and the whole production chain of the film industry,trying to make this cross-regional early cinema exchange history show a different,rich and diversified cultural landscape.Third,under the support of film history research,cultural studies,social and historical criticism,post colonialism theory,explore the inherent laws and external factors for the formation of cinema exchange between China and the Korean Peninsula before 1953,using some common or individual cases,hope to give some historical references or possible answers to the obstacles or problems encountered in the film exchange between China and the Korean Peninsula,even the whole East Asia region.In accordance with the above ideas,this article will be divided into the following five chapters.The first chapter is the preparation for cinema exchange(1896-1925).According to the essential factors such as the field,characters,works and opportunities,this article maintains that the premise of the cinema exchange is the existence of the film ontology.When film first introduced into China and the Korean Peninsula,it was both marked by the screenings of foreign films.But about the arrival time and methods,film screenings under foreign investment,initial practices of national film-making under multiple pressures or other issues,the two places have great differences and contrasts in the early stage of film art.On this basis,at the end of nineteenth century and early twentieth century,the Korean Peninsula divorced from the Qing Dynasty vassal relations,became a Japanese colony,changed the identity and context of China and the Korean Peninsula's communication on politics,economics,military,culture,art and other aspects.On the one hand,there is a fierce national conflict and independent movement in the Korean Peninsula.On the other hand,the regional advantages of the international city of Shanghai and the construction of the cultural atmosphere of the film,for the Korean filmmakers,formed a kind of "Oriental Hollywood" style yearning.It is under the guidance of many factors that there is a possibility for the two places to carry out some film activities.The second chapter is the preliminary cooperation between China and the Korean Peninsula film industry(1926-1929).Compared to the previous stage,the most prominent feature of this stage is that the movement of filmmakers broke the geographical boundaries of the two places for the first time,the Korean film directors,screenwriters,actors and photographers stepped into China for the first time,and working with Chinese filmmakers to shoot the first co production-an anti-Japanese film "The Patriotic Souls",also formed a Korean film group named "Shanghai School",which deeply influenced by Chinese movie style,shoot a lot of Europeanization and martial fantasy movies.At the same time,the Korean Peninsula's unilateral coverage and criticism of Chinese film circles also began to be seen in historical documents.It can be said that in a short span of three or four years,thanks to the preparatory work for the exchange of films between the two countries,but also because of the vigorous development of Chinese film at the end of 1920s,Korean filmmakers had got a good grade when first moved into Shanghai film industry.While the Korean Peninsula's newspapers and periodicals in the process of spreading and accepting Chinese film,had some delays and misunderstandings at the initial stage.The third chapter is two prototypes of cinema exchange between China and the Korean Peninsula(1930-1936).Undertake the good beginning of the last stage of cinema exchange,after entering the 1930s,the cooperation between China and the Korean Peninsula have been innovative,broadened and in-depth in the form and level.The first "film emperor" Kim Yan was born in Shanghai cinema-whose family all participated in the Korean national independence movement.He played the image of progressive young people who were in line with the trend of the times,so became Sun Yu,Tian Han,Bu Wancang and other well-known film director's favourite actor,and formed a popular transnational screen couple with Ruan Lingyu.Outside the screen,Jin Yan married Chinese famous actress Wang Renmei,became the first Sino Korean marriage star couple,and the story that his fans pursued him was adapted into the film "Three Modern Ladies".Influenced by the Chinese left-wing movie movement,the actor image of Jin Yan had undergone the transformation and transformation.In the left-wing movie,he was molded into a glorious worker representing the broad masses of workers and peasants.In the process of Jin Yan in close connection with the Chinese film culture,his "Korean actor" image becoming more and more weaken.On the other hand,although the development of "Shanghai school" filmmakers in China did not run up to the achievement of Jin Yan,but in China and the Korean Peninsula cinema exchange history,they left a series of landmark works of high value.First,making the first large-scale cooperation film "Yangtze River",China and the Korean Peninsula's news media both reported this movie at the same time.Secondly,the Chinese film "The Way Out" which produced by the Korean filmmakers was forced to change to "The Way to Brightness".Third,directed by Zheng Jiduo,"Goodbye,Shanghai" became the last film of "Shanghai school",but also a Chinese film with the greatest number of releases in the Korean Peninsula before 1953.Finally,during this period,under the cultural field which created by the complex heterogeneous space,the non-professional film critics which composed of Korean students studying in China,had become important media characters for criticizing,leading cognition and acceptance Chinese films.The fourth chapter deals with the special form of cinema exchange in war context(1937-1945).During this period,the Anti-Japanese War,as the most important morpheme and word of the times,influenced the production pattern of Chinese films and the nature of transnational cinema exchanges.Its direct result is,in different regions in China,appeared film platforms and institutions that undertook film transmission and interaction with the Korean Peninsula,such as "Man Ying","Zhong Lian","Hua Ying",most of them were Sino Japanese joint venture film company.Under the threat of Japanese forces and wartime context,Korean filmmakers or southward to Hong Kong,Thailand and other places to seek a living space,or return to the motherland to accept Japanese colonial film system's supervision and the pro-Japanese policy.On the contrary,in the base areas under the leadership of the Communist Party of China,the Korean army of volunteers in cooperation with Chinese show folk,staged a large number of dramas and operas which reflected the people's life and national independence on the Korean Peninsula,enriched the content of cinema and art communication during this period.In addition,under the guidance of "Five Races Under One Union" promotion policy and the "Greater East Asia Co-Prosperity Sphere" theory,the Chinese film which marked by "Man Ying" star Li Xianglan,widely spread and influential in East Asia,made the screens in colonies full of differences and other's imaginations about Chinese films,and referred "China" to "Shina" in transnational film criticism which full of banter and discrimination meanings.The fifth chapter is the "cold war" feature of cinema exchange between China and the Korean Peninsula(1946-1953).After the surrender of Japan and the end of World War II,China and the Korean Peninsula are faced with a new political choice and the bifurcation of film road in the joy of national independence.The turmoil in the domestic situation made the Korean filmmakers in China more mobile and more turbulent during this period.After the founding of new China,the new government approved Jin Yan as "Chinese son-in-law",he became worthy of the name.After "Shanghai School" filmmakers who have been in the Chinese film industry return to the Korean Peninsula,they have been given the responsibility to revitalize and restore the film art.But soon,the outbreak of the Korean War reversed the direction and rhythm of the cinema exchange.For China and the North Korea,documentaries about "the war to resist U.S.aggression and aid Korea" has become the most important symbol to reflect this period film exchanges;and for the South Korea,even the same war record,but because the shooting angle and the position is different,there would be a new comment.As a result,the history of cinema exchange between China and the Korean Peninsula inevitably splits and turns under the intervention of the war and the cold war.In addition,for overseas communication,cognition and acceptance of the Chinese movies at the moment,as well as for foreign filmmakers' creation,intercultural communication in China,this paper also tries to provide a way of thinking,supplement some historical documents.