A Study On The Cross-era Turn Of Film Star’s Social Responsibility From The Republic Of China To The People’s Republic Of China(1927-1966)

The movie star is the central element of the film,and as the most prominent person on the screen,the social responsibility assumed becomes a genuine issue of concern.The movie star is a microcosm of the changing social form,like a mirror that reveals each era’s nationalism,class consciousness,moral values,and human desires.Moreover,today,many star deeds in history still influence the development and inspiration of Chinese cinema.The Republic of China was a period in which Chinese stars flourished,nurturing a highly distinctive star culture that echoes the diverse star phenomena of today,and the film stars of the 17 years have affinities with the mainstream star culture of modern times.Therefore,this is the significance of considering the social responsibility of film stars in the Republican and New China eras: by retracing the phenomenon of stars in the two essential areas,and we can obtain a different path to consider the social responsibility of film stars in modern China.The main subject of this study is the stars who were already famous in Shanghai during the Republican period and continued to perform after the founding of New China.This study explores the social responsibilities of the stars who were the focus of social gaze during the socio-historical and cultural transition from the Republic to New China and how these responsibilities shifted in the changing times.The idea of the study is to establish a framework for the social responsibility of film stars from the role theory.Then,the study delves into the historical scene to explore the specific representations of film stars’ social responsibility during the Republican and New China periods.Finally,the study explores the cross-generational shift of the social responsibility of film stars under the changing times from a comparative perspective.Thus,the study acquires an alternative path for thinking about the social responsibility of film stars in modern China.The film stars of the Republic of China survived in a complex environment,cultivating three cinematic interests in a triple discourse of foreign interests,left-wing ideas,and party-state discipline.As a result,different types of stars and temperaments were created.The three different types of stars took on different social responsibilities of specificity: carnal actresses pursued breakthroughs in film aesthetics and gave audiences visual satisfaction but were caught in controversies about eroticism.Red stars try to awaken the public to fight for national independence by portraying national and social conflicts.The new wives and mothers attempt to return to the Confucian tradition to find a solution to China’s self-improvement.They share the general social responsibility of enlightening the audience about modernity and saving the country.After the Communist Party of China established New China in 1949,the political,economic,and cultural spheres underwent an all-around innovation that brought the entire society under the control of the socialist state.During this phase,movies and stars became a powerful means of penetrating socialist ideology and securing political authority.Under the new socialist cultural form,the particular social responsibility of film stars was to form the identification of the whole society with the main body of the new regime by playing national heroes and playing model workers to link their development with the construction of the new state.The general social responsibility is to unite all social classes and to spread new policies and regulations and the Party’s ideological ideas to educate the masses.